Issue 1, 2013: ASPP's The Picture Professional Magazine

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42-37228157 | © Gavin Hellier/JAI/Corbis


Corbis Images delivers breaking news, every day and from every corner of the globe, through our contributing photographers and collections, including Reuters, Demotix, and Splash.

UP-TO-THEMINUTE NEWS, SPORTS, AND ENTERTAINMENT COVERAGE Corbis Images delivers breaking news, every day and from every corner of the globe, through our contributing photographers and collections, including the Associated Press, Demotix, and Splash.


Find out more

ISSUE 1 / 2013



1,000,000 fine art images

from the world's leading museums... come browse our gallery

PORTFOLIO Richard Selesnick & Nicholas Kahn


PORTFOLIO Photographer Hal


PORTFOLIO Brandon Juhasz


SANDY ART Randy Taylor


SECOND SHIFT John Spaulding


Q/A HBO Archive’s Max Segal




CLICK Ben High








THE LAW Joel L. Hecker, Esq.






LIFE IN FOCUS Stella Kalinina





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

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The Picture Professional quarterly magazine of the American Society of Picture Professionals, Inc.

ASPP Executive Offices 217 Palos Verdes Blvd., #700 Redondo Beach CA 90277 Tel: 424.247.9944 Fax: 424.247.9844

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2012-2013 National Board of Directors

MidWest Christopher K. Sandberg Mike Fisher

President Michael Masterson

Editorial Staff Jain Lemos - Publisher April Wolfe - Editor-in-Chief Ophelia Chong - Art Director

Vice President Sam Merrell

Contributing Writers Ben High Josh Steichmann John Spaulding Joel L. Hecker Randy Taylor Jenny Respress Jon Crispin

Treasurer Mary Fran Loftus

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New England Jennifer Riley Debra LaKind

Secretary Sid Hastings

Membership Doug Brooks Holly Marshall Technology Daryl Geraci Cecilia de Querol

New York Peter Berberian Kris Graves

Editorial April Wolfe

DC/South Lori Epstein Jeff Mauritzen

National President Michael Masterson

2013 Sub-Chapter Vice Presidents

Membership Doug Brooks Holly Marshall

Minnesota Julie Caruso Missouri Sid Hastings

Marketing & Communications Jennifer Davis Heffner

Ohio Mandy Groszko

2013 Chapter Presidents

Wisconsin Paul H. Henning

West Mark Ippolito Christopher DiNenna

Advertising & Executive Officers Jain Lemos Executive Director

Website Daryl Geraci Tel: 602-561-9535 eNews Blog Jenny Respress

• 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 • Advertising is also desired and welcomed. We offer a specific readership of professionals in positions of responsibility for decision making and purchase. For our media kit and rate sheet, contact Jain Lemos, 424-247-9944. Space reservation deadlines: February 10, May 10, August 10, November 10. Subscription rates: Free to members, $40.00 per year to non-members. Back issues: $10.00 when available. Non-members are invited to consider membership in ASPP. • POSTMASTER: Send old and new address changes to ASPP, Inc., 217 Palos Verdes Blvd., #700, Redondo Beach CA 90277. Members can update contact information in the Member Area of our website at • ©2013 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-in-Chief. 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. American Society of Picture Professionals



How do you want to tell your story? WWI Centennial 1914/2014

























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DEAR PICTURE PROS, From the first photo ever taken by French inventor Joseph Nicéphore Niépce in 1826 to the shot taken seconds ago on an iPhone by a teenager at the mall, ten percent of all photos ever taken in the history of the world were taken in the last twelve months. We take more pictures every two minutes than were taken in the entire 19th century, nearly 400 billion a year with over 300 million posted to Facebook every day. They add to a collection that’s already 10,000 times larger than the Library of Congress archive! It’s a mind-boggling statistic but believable when you see people whipping out their smartphones to document everything in sight. What used to be the province of professional photographers and, later, anyone with a Brownie or a point-andshoot, is now in virtually everyone’s pocket. How many pictures have you taken today? This has redefined imagery, where it comes from and how it’s used. Of course, these images aren’t all taken by professionals, but given the pervasiveness of photography in our everyday lives, how does an organization like ASPP fit in? How can an organization that began in 1966 as a genteel society of “picture professionals” sharing cocktails and industry news and trends morph into a 21st century association that meets the needs of a constantly changing industry? That’s our challenge and call to action if we’re to remain relevant and survive as the only professional association that’s inclusive of all members of the image world. It’s forcing us to rethink our mission and our membership. Our membership skews to an older demographic not only for historic

reasons, but because we haven’t reached a potential younger audience as effectively as we’d like. We’ve been evolving over the past couple of years to include different levels of membership opportunities and expand our reach to aspiring professionals and students. We’re keenly aware of the need to rebrand ourselves and are focusing on that this year as part of our Website redesign (more about that in a minute) among other initiatives. We’ve made some strides with student membership specials, more relevant chapter programming and this slickly designed magazine. But we’re doing more. We’ll make another highly visible leap forward with the relaunch of a more content-rich, user-friendly in the next couple of months. This supports and complements our larger goal this year to expand the ASPP’s relevance and presence in the industry. We’ll be doing this by leveraging our own content more effectively, increasing our social media presence, showcasing our diverse members and their roles, offering Webinars to benefit our more far-flung members and would-be members and creating more buzz-worthy targeted chapter events. With the help of an inspired and inspiring Board of Trustees, a talented and committed National Board, our generous sponsors and advertisers and engaging members like you, this promises to be the best year yet for the ASPP. And we welcome your ideas and suggestions for programming, outreach and benefits. Now go shoot one of the millions of photos that will be taken today. Who knows? It could end up in the next issue’s back page feature, Life in Focus. ✹ MICHAEL 5

42-38545708 | ŠJulie Dermansky/Corbis

INCREDIBLE STORIES, EXCEPTIONAL IMAGES Our contributing photographers and collections, including the Associated Press, Demotix, and Splash, allow Corbis Images to cover the year’s biggest events alongside our breaking news, sports, and entertainment. Find out more at

FebOnePage.indd 1

2/19/13 9:17 AM




© Cecile Anne Inga

So much has been changing here at The Picture Professional and with ASPP. Have you heard about the new website? Jenny Respress is hard at work on social media (have you added us on Facebook or followed us on Twitter?), and we’re rewriting our submissions guidelines to make things easier if you’re thinking of submitting to us. This issue marks my second year as editor for TPP, and I want to thank you all for your participation, acceptance, and encouragement. You’re all inspiring and passionate individuals, and that’s exactly why I want to be here. Let’s wipe the celebratory tears from our eyes and get down to brass tacks, because issue 2013.1 has some amazing material to dazzle you. First off, we have three excellent portfolios from upcoming and world-renowned artists, including Brandon Juhasz, Photographer Hal, and Richard Selesnick & Nicholas Khan. Randy Taylor takes us through his emotional and serendipitous photographic discoveries following Hurricane Sandy, and John Spaulding inaugurates our Second Shift column, where industry professionals share their experiences in evolving careers. Ben High returns with some valuable reviews on contract apps for the iPhone and iPad, and our What’s Hanging section is temporarily taken over by Foto+Synthesis, a renegade exhibition curation program. Joel Hecker covers rights grabs in The Law, and Max Segal, documentary filmmaker and director of HBO Archives, sits down with us for Q/A to talk about the future of film archiving and footage licensing. And for the archivists, we have one more article for you from Jon Crispin on the fascinating work of documenting the Willard Asylum for the Chronic Insane. I’m normally wordy here, but you know what? You should be reading the rest of our magazine. We’ve worked very hard to get this issue out, and we’re so proud you’ve taken the time to read/gaze at/glance at/ kind of thumb through it. ✹ Sincerely, A.WOLFE


9:17 AM


Photo exhibitions near you.

FOTO+SYNTHESIS The Future of Museum Exhibitions and Education They look for work with wide appeal and different cultural contexs. For more information on Foto+Synthesis, their exhibitions, or where their programs are headed, check out

If you attend a museum opening anytime in the next few years, there’s a good chance you’ll run into one of Foto+Synthesis’ programs. Foto+Synthesis, founded by artist/photographer Gordon Watkinson as a traveling exhibition service meant to give him a more hands-on approach to his own exhibitions, now represents collections from contemporary photographers and works directly with the artists to develop their projects into museum-ready exhibitions and educational programs. Developed exhibitions include everything from texts, graphic elements, educational programming, poster and invitation designs, and press packages, as well as plans for setup. In 2006, Watkinson teamed up with Alexandra Le Faou of Phaidon Press, and the two have been building programs ever since, the first unveiled being “Bauhaus twenty-21: An Ongoing Legacy,” which has since traveled everywhere from Krakow to Stockholm and will soon be opening at the Arkansas Arts Center in Little Rock, from May 24–September 22.

Bauhaus twenty-21: An Ongoing Legacy – Photographs by Gordon Watkinson “Bauhaus twenty-21” was conceived as a multi-disciplinary project encompassing architecture, design, and photography. The exhibition is an inspiring exploration of the Bauhaus legacy in 21st-century architecture and design; accessible to a diverse audience, it demonstrates–through sequences of large-format images by American artist/photographer Gordon Watkinson– new floor plans of all the buildings, as well as re-editions of Bauhaus furniture and objects, the links between today’s architecture and the ideas and forms developed by the Bauhaus between 1919 and 1933.

Foto+Synthesis projects have a two-to-five year gestation period, [Available from Fall 2012. Photography and architecture so many of the exhibitions are still incubating, but Alexandra Le workshops and guided tour of the exhibition with Gordon Faou has been nice enough to grant us an inside peek at their Watkinson. Companion publication available.] upcoming programs. And according to Le Faou, Foto+Synthesis is on the lookout for “well-developed, completed bodies of work that tell a story, while transcending the medium of photography.” American Society of Picture Professionals



Silafando: A Gift to You on Behalf of My Journey – Images by Jason Florio This series of images was created during Florio’s 930 km circumnavigation by foot of The Gambia, on the Western coast of Africa, crossing over 30 villages and small towns. The beautiful and sensitive color photographs of the Alkalos, the elected village chiefs in the traditional system of local leadership, capture the elegance, confidence, and the sense of authority that they derive from their status. Setting up the same outdoor studio situation throughout his journey—reminiscent of the tradition of studio photography from West Africa—Florio offers a stunningly beautiful gallery of portraits whose vivid colors stand in surprising contrast to the soft, nearly painterly backdrop of the photographs. The images will be accompanied by the names, signatures, and official stamps of the Alkalos, as well as text material about their geographic and cultural background. [Available from Fall 2012. Photography workshops and guided tours of the exhibition with Jason Florio, for all age groups. Foto+Synthesis will produce companion publication for exhibition.]


Color Falls Down – Priya Kambli Priya Kambli’s series of photographs “Color Falls Down” is rooted in her fascination for her parents and her own history of displacement. In a digital juxtaposition of old family photographs, self portraits, and personal artifacts from both the past and the present, Kambli explores her genealogy and creates a complex narrative of dual cultural identity, inherited traditions, mythical memories, and generational ties. The carefully chosen imagery intertwines with rare elegance moments and objects of Kambli’s everyday life in the US, her children, their toys, with snapshots of her own childhood in India, as well as staged photographs of Indian customs and rituals. While creating her own mythology throughout generations, Kambli’s sophisticated and rhythmic associations of forms, colors, textures, and symbols transcend the photographer’s own history and cultural journey. Her images become a universal attempt to overcome absence, loss, and acculturation. [Available from Fall 2013. Photography workshops and guided tours of the exhibition with Priya Kambli, for all age groups.]

Small Town: Portraits of a Disappearing America–Brazilian-born Alex Leme Intrigued by the continuing disappearance of rural towns in America, Alex Leme spent two years capturing the silent mood of Cotton Plant, a small town of 650 nestled in the rural northeast portion of Arkansas, between Little Rock and Memphis. Despite its rich history of the promising nature of its past, Cotton Plant has suffered the same challenges and consequences as many other small rural towns. What once was a relatively thriving center and one of the fastest growing communities in Eastern Arkansas is now a town littered with ghost factories, abandoned schools, and the carcasses of crumbling buildings, while the handful of remaining local stares struggle to survive. Today, the small-town atmosphere with its slow pace and tightly knit communities, which so defined rural America, is strongly undermined by growing isolation and forced idleness. Leme’s images of Cotton Plant landscapes and people subtly convey a nearly threatening stillness and quietly question the future of a forgotten America. [Available from Fall 2013. Photography workshops, talks, and guided tours of the exhibition with Alex Leme, for all age groups.]. American Society of Picture Professionals



Anonymous Women: Draped – Patty Carroll At first sight, Patty Carroll’s faceless portraits appear to be a colorful variation on the themes of ludic role-plays and domestic décor, literally enveloping the subjects in a never-ending flow of patterned textiles. On a closer look, however, Carroll’s thoughtfully choreographed photographs conjure up other familiar images–the habit of the nun, the burka, or a type of urban camouflage–while her powerful evocation of overloaded interiors challenges the idea of home as a sanctuary. If Carroll’s often witty or ironic use of the accessories associated with the idea of home and comfort inject an effective dose of subversion in her symbolic representations, her images also confront the viewer with questions of feminine identity and the nature and expressions of a double-edged domesticity. It is precisely in this constant tension–between the sensuality of the textiles and the claustrophobic sensation that emanates from their display, between the harmony of the compositions and the obsessive longing for perfection–that Carroll’s “Anonymous Women: Draped” continues to intrigue and seduce. [Available from Fall 2013. Guided tours of the exhibition with Patty Carroll, for all age groups.]

Rodin’s Burghers of Calais. A Heroes’ Tale – Gordon Watkinson In this new body of work, Watkinson explores one of the most important art works of the 19th century, the monument dedicated to the Burghers of Calais by French sculptor Auguste Rodin. The artist initiates a compelling dialogue with the texture of the bronze, the fluidity of the lines, as well as the intensity of the faces and gestures of Rodin’s characters. Deconstructing the group of six Burghers, Watkinson focuses with expressionistic acuteness on the depth of human emotions that the sculptor infused into his subjects. The tight and frontal close-ups captured by the photographer conjure up Rodin’s powerful creative act. The photographs will be presented alongside short texts from prominent contributors, specially commissioned for the project. The contributors will offer a multi-layered critical approach of the sculpture as well as the historical event that precipitated the creative process.

[Available from Fall 2013. Photography workshops and guided tours of the exhibition with Gordon Watkinson.]


Š Nicholas Kahn & Richard Selesnick


Truppe Fledermaus Photographs American Society of Picture Professionals



By Nicholas Kahn & Richard Selesnick


© Nicholas Kahn & Richard Selesnick

© Nicholas Kahn & Richard Selesnick

© Nicholas Kahn & Richard Selesnick

I never could remember until I managed to exit his front door, at which point I could never seem to remember clearly what had taken place within. Random fragments of memory would return to me occasionally—like the time we had been sitting cross-legged on the floor of his padded cell, and he had raised his hand and bid me listen: somewhere in the distance I could discern a great quantity of birdsong, a cacophony that had grown louder and louder until I could hear wings softly beating on the other side of the muslin, and then had gradually faded as the flock disappeared over the imaginary horizon. I realize now—too late unfortunately—that rather than being an actor trapped on the stage of his own madness, Orlofsky had in fact become the audience within a theatre of memory, a spectator looking out from the proscenium over an infinitude of drawers

LONG AFTER THE FINAL weather pageants had ended, I would visit Orlofsky in the tiny rooms in which he had sequestered himself. I would find him lying in the grey soiled sheets of his bed, an unfathomable emptiness in his eyes; this would gradually dissipate as what remained of himself floated up from the bottomless depths to greet me. Over the peeling florals, he had pinned up yellowing pieces of muslin until the entire room, windows included, had been covered; above us was a decaying skylight that rendered the sky occluded, colorless, so that the weather in the rooms was always overcast and indistinct. Somehow, in his dementia, he seemed to have finally succeeded in carving a discreet block of time and space from the continuum and trapped that elusive quicksilver in a small apartment behind the marshalling yards next to—well, it was pointless to speculate where we might be, American Society of Picture Professionals


© Nicholas Kahn & Richard Selesnick

© Nicholas Kahn & Richard Selesnick

and cabinets, each containing a fragment of our vanished lives. While I merely sat in his room, he had actually been there at the picnic on the Ouse, the taste of gooseberries and Blanc de Blanc still fresh on his tongue, dandelion fluff swirling about his head, as a storm of starlings had come shrieking over the marshes, looting the countryside of its sounds, and then echoing them back in a furious mimicry. Of course the construction of this wonder had cost him, and by extension myself, everything. On this day, we did nothing in particular—beyond the fabric, I could hear a steady rain falling as the drops pinged off various objects, creating a sad and contemplative music, although whether this was the actual weather outside, or merely Orlofsky’s memory of weather, I no longer knew. For if truth be told, he was not well. As a youth he had been taken to see various relatives and

family friends who suffered from the condition, and although he had managed to navigate through the clouds of cigarette smoke and yellowing wallpaper of those murky rooms, with the afflicted lying motionless on their beds, shrouded like Egyptian mummies, their voices like a rustling of leaves, barely audible, the experience had somehow marked him, and I wondered: at what moment did the weather conditions inside his own head start to turn? Maybe it was a slight fogginess or a period of drought, maybe a change of wind direction, a quaver in the voice, a subtle tremor in the hand as it tries to reach for the doorknob, perhaps for the last time. ✹


Š Nicholas Kahn & Richard Selesnick

AGORAPHOBIA American Society of Picture Professionals



© Nicholas Kahn & Richard Selesnick

© Nicholas Kahn & Richard Selesnick

A unique collection of images representing the history of Russia, Soviet Union, and the entire Communist Bloc including Eastern Europe and China. Bridgeman_March_2013_FINAL.pdf 1 (212) 2/21/13727-8170 10:39 AM

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THE JAPANESE ARTIST KNOWN AS PHOTOGRAPHER HAL HAS become well known for his project titled “Flesh Love,” which features real-life couples vacuum-sealed together inside clear plastic packaging. “Couple Jam,” the precursor to “Flesh Love,” is a bit less controlled, a bit more spontaneous, giving the impression of a photo booth at a wacky carnival, where lovers are asked to contort themselves into a tiny space for the fun of it.


There’s magic in Photographer Hal’s work that can be seen especially in “Couple Jam” and “Flesh Love.” Even though these couples are contorted into tight spaces with arms and legs and necks and torsos bent at odd angles and wrapped around one another, they look natural, happy– even comfortable sharing such an intimate space with their partners. This is how Photographer Hal wants to conquer the world: “From two people to a group, a town to a community, a city to a country, from border to border, the ring of love shall prevail.”✹


American Society of Picture Professionals


© Photographer Hal

Describing Couple Jam, Photographer Hal says, “I want to capture love as it really is and the bathtub is an ideal vehicle to encapsulate the vivid reality in my images.” The idea conveyed is that love is all– both the puzzle pieces and the finished puzzle. His projects go through a metamorphosis of sorts. In the earliest project, “Pinky & Killer,” couples were photographed simply holding one another in a small intimate space: two separate individuals embracing. For “Couple Jam,” pairs of lovers are squeezed into their bathtubs: arms and fingers entwined, legs zigzagging into the air. You begin to lose the sense of whose limbs belong to whom. The couples here resemble conjoined twins. By the time we reach “Flesh Love,” what were previously twosomes have morphed into something new: each one is an almost fetus-like single unit, wrapped in its own womb.

Š Photographer Hal

Š Photographer Hal



Š Photographer Hal

American Society of Picture Professionals



Š Photographer Hal

Š Photographer Hal

American Society of Picture Professionals


Š Photographer Hal

25 Š Camillo Longo (4)

Premiere of Sergei Diaghilev’s ballet, Rite of Spring with music by Igor Stravinski. Paris, France 1913. Š Roger-Viollet / The Image Works

Premiere of Sergei Diaghilev’s ballet, Rite of Spring with music by Igor Stravinski. Paris, France 1913. Š Roger-Viollet / The Image Works

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been too costly in large quantities. Several computers were also destroyed. So, digitization would have mattered little unless the backups were in multiple locations. In the end, the best approach was simply to have spread the photos around at various photo agencies and locations, to not have all our eggs in one basket. To a small degree, that limited the loss. Distribution to mitigate risk But from the filthy, moldy remains of this massive mess sprouted would hold true for both analog and digital. some seeds of creativity and hope. A tiny set of visually pleasing images (less than 0.1%) rose up to be noticed. An artistic effect was born The most emotionally disturbing aspect was removing the slides of the storm’s debilitating destruction, a creative result that seems from the filing cabinets. Because the cardboard slide mounts had one step beyond the outer limits of imagination and Photoshop. swollen, an enormous pressure was created from their expansion, which made it impossible to open the cabinet drawers or remove I created a technique (more like battlefield triage for photos) of the slide pages. It was necessary to smash a two inch “path” with dipping each image in 91% rubbing alcohol, which is a shockingly a hammer, pulverizing my own images into little plastic chips, to drastic method that is only suitable for those images that are create enough “wiggle room” to get the remaining slides out of on their “death bed” with chunks of mold and bloated, gooey the files. emulsion. The alcohol dip instantly kills the mold, freezes the deterioration and speeds the drying time. (Editor’s Note: A Yet, on a positive note, some of these images emerged to be truly video of Randy’s alcohol dip technique can be seen at this URL: unique in a way that I would never have imagined, and these are the images you see here in these pages. There was no planning or editing other than simply trying to save as much as possible that The artistic effect is the result of an unpredictable combination were destined for total destruction and rapidly deteriorating. of blurriness, cracking, micro fractures, mold spores, and extreme There is a formula of sorts: discoloration as the colored layers disintegrated. Kodachrome loses its red layer first, revealing monochromatic blue images Time under water beneath the bright colors. Ektachromes become red where the X top layer of emulsion peals away. The waterlogged emulsion How much dirt and bacteria are in the water creates a soft focus effect when it dries, then cracks to various X degrees. Mold is the most unpredictable, delivering its own Contact with air creative destruction. While these photos were created by Randy X How long the destruction continues and Dagmar, it could be argued the art is by nature. = At such junctures in life, one cannot help but wonder what Total Destruction should have been done differently. Lost were the famous photos that graced magazines worldwide and altered politics and So, drying the images more quickly and washing them, sealing perception: photos of death and disasters, wars and shoot outs, them from air as quickly as possible, will limit the damage. In the covert activities and cover ups, and of hundreds of celebrities that final phase, the emulsion runs off the slide like water, leaving only are the bread and butter of photojournalism. Pieces of history, clear plastic. When the quantities are too great to salvage images personal, national, and international, were lost. What should one at a time, one technique to stall or delay the damage is to dip the entire slide page in rubbing alcohol. This will inhibit the have been done? growth of mold and buy some time. The most obvious error was in storing anything of value in a basement, even of a professional storage facility. Every action While this art has much to do with the law of averages, destroy taken by the facility (or not taken) increased the damage. Water enough pictures and some will look interesting—hopefully the will always seek its own level. In retrospect, logic dictates that it right ones. The thought is inevitable that this could become an art was just a matter of time before gravity would combine with a form. What if one were to create images for the sole purpose of flood or water from a fireman’s hose or a sprinkler head breaking soaking them in bacteria-laden water for two weeks, then letting to inundate a basement. Our cautionary steps of putting valuables them deteriorate until a desirable effect is achieved? I imagine in plastic bags and bins proved worthless. Scanning would have someone could perfect that technique to a certain degree, but until that time, I present here my accidental discoveries. ✹ THE EMAIL SAID OUR STORAGE FACILITLY HAD FLOODED FROM THE SUPER STORM SANDY It took weeks to fully understand the translation: Dagmar Fabricius and I had lost most of our life’s work—30,000 slides, prints and negatives spanning 40 years of photojournalism and stock, plus several generations of family photos.

American Society of Picture Professionals


Š Randy Taylor

Undercover police officers shoot an Iraqi embassy guard to death who had just shot a French police officer in the streets of Paris in 1977. Originally a black and white negative, the image was mounted. The plastic slide page stuck to the center of the image, delaying its destruction, which created this window-like effect.

29 Š Camillo Longo (4)

The lens of a movie theater projector shines through chaotic colors caused by storm damage to the original slide.

American Society of Picture Professionals

Astronaut and Senator John Glenn on the campaign trail for President in 1984. The extreme cracking results from watersoaked emulsion drying irregularly.


Š Randy Taylor (3)

Guards line up at the Guanabara Palace in Rio de Janeiro, Brazil, in 1973.

Photographer Randy Taylor mockingly takes the chair at an illustrative photo shoot in a gas chamber that was used for executions of capital crimes.


Š Randy Taylor

Neo Nazis in pose during a secret rally in Florida in the 1980s. The extreme colors results from layers of emulsion peeling away in a random pattern

Filtered through the mosquito net over her hotel bed, an American contemplates the city of Hue, Vietnam from her window in 1997.

Life passes from a victim of the 1985 mudslide in Armero, Colombia that killed 25,000. A generation later, floodwaters damaged the image, creating the eerie and uncomfortable combination of death and destruction of subject and media.

Š Randy Taylor (4)

Self-portrait of photographer Randy Taylor, taken on a cruise to Mexico in 1998. The red color is the result disintegration of the blue layer of the photographic slide.

American Society of Picture Professionals


Š Randy Taylor

The space shuttle Challenger takes flight on a mission prior to the 1986 disaster that killed its crew of seven.



JOHN SPAULDING ASCENDS THE PHOTO RANKS...IN A CRANE AS MANY OF YOU IN THE IMAGE INDUSTRY HAVE FOUND, the work you thought you’d be doing is not necessarily the work you are doing. Being able to recognize opportunity and adapt is a useful skill for our current economy, but being able to flourish after your adaptation is even better. In this continuing series, TPP will be identifying those flourishing individuals, allowing them to tell their stories, share advice, and give a glimpse at what life is like after your career’s second (or third) shift. Inaugurating the column is DC photographer John Spaulding. What is the single phrase or sentence you say most often to your assistant? “Hand me another memory card,” or maybe, “I need the other lens next?” How about “Please don’t let me get run over”––while lying next to the wheels of a 12-ton forklift, whose operator cannot see you. I was (and still mostly am) a typical DC-area generalist, shooting for a mix of editorial and corporate clients. But in 2009, I got a referral to shoot exec portraits for a large transportation company based in the area, which led to a multiproject contract, and now here I am, loving my job, but hoping I don’t die in the process, which is why—if you’re going to take a step into the industrial and transportation realm—support from an assistant is essential. My criteria? The head-on-aswivel, booming voice, take-charge type that will not hesitate to grab my shirt and yank, or wave arms like a maniac to an equipment operator who’s lost sight of me as I bravely (ok, stupidly) look for the dramatic lower, ever lower angle. Sure, there are plenty of other people around when I’m shooting on railroad tracks, or in a bus-wash bay, or in the busy cab lane of an international airport. The clients always have safety folks on hand telling me where to stand and what NOT to do. But even then, problems can arise with inconsistency. For instance, in Southern California I was working for a contractor that maintains railroad tracks and right of way. I was fitted with hardhat, safety vest, eye and ear protection, and had been informed in advance that I had to be wearing heavy-duty work boots to be allowed within their work zone. There were several rounds of radio conversation between the crew chief and dispatch to confirm exactly when, where, and for how long we would be entering the RoW. I received a detailed briefing, confirming exactly how many minutes I would have to complete my work, who would be photographed, what they would be doing American Society of Picture Professionals


(lifting equipment, welding, etc) and the areas that would be more or less safe for me to be standing while they did so, based on where the heavy equipment was operating, stuff being moved, which way the sparks would fly, etc. And then I had to sign a written acknowledgment of the instructions, which included a confirmation that if I failed to follow instructions or removed my safety gear at any time I would immediately be removed from the work zone, with no warnings. Some time later, however, I was working for a similar rail contractor, this time on the East Coast. I showed up early. The “briefing” was as follows: “We have a guy who watches for oncoming trains, and when he sees one, blows an airhorn. When you hear the horn and see us all get off the tracks, you probably should, too.” Every large contract I’ve ever worked around has a safety/ training officer and senior-level operations managers or union stewards, but the best people to work with are the ones closest to the operations level––not the execs, marketing or PR folks who sometimes get involved. It’s sometimes a precarious balance of pleasing the client and following the safety engineers. Once when I was in charge of a photography crew, I had an art director show me a concept sketch of a worms-eye view of a historical relic as it was lifted from Atlantic waves onto the deck of the recovery ship. “Get me this shot,” the AD insisted. The deck chief was less enthusiastic about having a photographer in the water while cranes lifted a fragile, multi-ton payload in rolling seas. Needless to say, the shot did not happen. It’s true that most shoots are coordinated through a combination of editors, writers, management, marketing people, PR contacts, and customer-service or media-relations people. That’s fine to get things together to make the shoot happen, but it’s vital to understand this: when it’s time to actually plan the shoot, and all the relevant logistics, those people are just in the way. The photog MUST deal directly with the operations-level folks, well before shoot day, to ensure that all the pieces come together. I’m not sure I got into this business for the “danger of it.” But when photographic opportunities arise—whether it’s snapping shots of a executive in her office or a welder in the field—it’s necessary to learn how to adapt. And while I’m thankful I haven’t had to take out any additional insurance policies for me or my assistant, there are a few things I wish I’d known when I started, and some things I’ll never know, like is that crane going to swing into my head? Luckily, my assistant can worry about that. ✹


Š John Spaulding (3)


© HBO Archives

QA The core mission of HBO is to produce high-quality programming you can’t see anywhere else. HBO Archives is an offshoot of this core business. Digitally storing raw footage clips is not a priority. To stay nimble and competitive we have a cutting edge digital partner who stores our cataloged clips on their server and then digitally feeds to HBO Archives. From the Licensing end of our business, if you are not online, you are not competitive. This shift started about seven years ago. Virtually all significant footage clip licensing operations now have their images online with digital delivery features.

HBO Archives seems like a grand undertaking, in terms of the products and services you’re offering as well as the task of actually archiving your material. Your website says that “new material is created daily.” Do you oversee both the archiving as well as the licensing sides of the business? How big is your staff? HBO Archives is very unique to HBO. It is a business within a business. The HBO Archives curates a smaller, selective subset of the entire networks’ holdings. Yes, the HBO Archives is responsible for mining, harvesting, archiving and then cataloging of mostly unused/outtake footage from our various programming arms. Additionally, HBO Archives manages the old theatrical and then TV documentary series, “The March of Time” (1935–66). Combined there are more than four decades of material from HBO and another four decades from “The March of Time.” Once archived and cataloged, our next step is to then market and license footage clips from our collections into a diversified marketplace. We have a relatively small but dedicated team that makes HBO Archives run. There are a total of eight, all cross-trained to contribute in various roles. With such a large library, have you turned to cloud storage for the digital portion? What role has technology played in the past decade since you founded the archive, and how has this made your job easier/harder?

HBO is also supported by a much larger division, The Post Delivery Group, who has the bigger responsibility of protecting all of HBO’s image assets. HBO Archives is responsible for a smaller sub-set. Along with The Post Delivery Group, HBO Archives has started to explore portable hard drives for most recent materials. That being said, we never get rid of the original footage. Film is precious and continues to be stored off-site in proper cold storage facilities. The biggest challenge we face is the retired videotape formats: two inch, one inch, D2, Umatic and BetaSP videotape reels. There are fewer and fewer duplication houses that even have these older machines to playback on. Transferring these older formats can be very expensive, as much as $500 for a one-hour two-inch Quad reel. There is no easy solution regarding these retired format tapes and time against their survival continues to tick down.


Like the other TV networks and major Hollywood studios, HBO is pretty straightforward when it comes to rights and clearances. We minimize as many grey areas as possible. HBO Archives is a member of the not-for-profit footage licensing trade group, ASCIL. ASCIL’s mission is to get together as a production community, to clarify and standardize, where we can, the way we all do business. One of ACSIL’s big initiatives relates to the changing and growing digital world, new media and multiplying platforms. The old permissions process is limited in our

new digital world. ACSIL is attempting to modernize the permission, licensing, and best practices process. ACSIL also has a copyright protection group that is exploring ways to neutralize Intellectual Property pirates and abusers of Fair Use. HBO Archives is very flexible with producers who license from us. We do have a standard boilerplate Agreement, but it is not etched in


© HBO Archives (3)

© HBO Archives

You started at HBO in their Rights & Clearances department of the Sports division in 1989. This was before the mass digitization of archival material, which has become something of a conundrum for those in rights management with the easier dissemination of digital images. How strict is HBO with rights and clearances, and are you developing better ways of protecting your archives?

stone. We regularly modify our Agreements in terms of clarifying grant of rights and other issues. Having experience on the other end, we do have a strong sense of the challenges producers sometimes have in the business of licensing footage clips. The HBO Archive also functions as a picture-researching tool, and it seems like you favor the “give us a call” approach over the “type in a keyword and maybe you’ll get a hit” approach. I’m surprised that such a large archive would encourage person-to-person picture researching, but is this just indicative of the care that goes into the HBO Archive? From the beginning we viewed our website more as a show reel to sample the range of material we have. HBO holds over a million assets. It is just not possible to catalog and digitize everything. Additionally our team knows our collection better than anything we could offer on the website. We do consider ourselves partners of the production community. A researcher may have a specific want list. We believe it is key to talk with that researcher, to brainstorm. Once we get a sense of the researcher’s story and sub-plots we can often offer a number of solutions that they haven’t considered before. Speaking of “The March of Time,” n the past few years, HBO’s short documentary series was revived and screened at both MoMA and on TCM. The 2010s have already been described by many authors as the age of “retro,” but have you noticed a surge in the demand for these strange newsreels? And can you talk a little about “March of Time” and your role in reviving the series in the HBO Archive. “The March of Time” is incredibly unique. For us, it was love at first sight. It is from the newsreel era, but not like anything ever seen before. “The March of Time” won an Academy Award for revolutionizing the newsreel business. There was no mainstream documentary movement in this country until “The March of Time” hit the screens. The typical Hollywood newsreel crammed about a dozen stories onto a nine-minute reel. “The March of Time” dedicated a full eighteen minutes to one story. The Hollywood newsreel was shot more run-and-gun style, while MOT had much higher production values. “The March of Time” had its one cinematographer training school to keep up their high standards and covered stories from around the world in a much deeper way. Hollywood newsreels were more superficial and US centric. The retrospectives we had at MoMA, the National Gallery of Art, and TCM serve as testaments of the importance, and yes, the sometimes quirkiness of this series. We have grown the MOT licensing every year. The success we have had is two-fold. This is a historically significant series that we have re-catalogued with painstaking details for easier search results. We hold the 35mm original films, which can then be transferred to true High Definition Video. Many libraries that hold newsreel films do not have the 35mm backing and cannot offer HD master transfers. Last year, we also launched an initiative to re-patriot lost programs of the earliest days of HBO. The most troublesome period is 1972–76 with Sports programming hit particularly hard. This was a time period when programs were recorded on very expensive and very bulky two-inch Quad videotapes. All the networks were constantly recycling with these reels, burning over history each time they did it. Networks regularly purged these oversized reels to save on storage costs. Sports programs were often targeted as the most disposable. Starting in 1972, our sports programming was wide and diversified. Professional and amateur hockey and basketball, professional baseball, football, soccer, boxing, tennis, wrestling, bowling, roller derby, martial arts, figure skating, and harness racing. Olympic styled track & field, gymnastics and swimming. We even broadcast roller derby. HBO was like ESPN, years before anyone even came up with the idea for ESPN. So much of our early sports pioneer programs remain lost. Our determination to reclaim our history is unwavering. You’ve also been a documentary producer. How does a passion for producing documentaries coincide for being the head of HBO Archives? Can you do both? I simply love storytelling, history, and especially pop culture. When I produced my own stories, either creating or finding the perfect shot was a near obsession. The right piece of footage could make a good story great. I do miss being out in the field producing, but we get a lot of satisfaction helping other documentarians, movie producers, educators, and others find key missing footage to help tell their story in an even better and more compelling way. For the HBO Archives team, it doesn’t matter what side of storytelling you are coming from, we all share the passion of our history, our culture through footage. Unique, compelling, unpredictable footage. ✹ American Society of Picture Professionals



© Brandon Juhasz



IN MY LATE 20s, I WAS STRUGGLING WITH THE RESOLUTION of what I had hoped or expected my life to look like in “adulthood” and what it had become. Achieving goals and trying to get ahead, these things I felt were inevitable through the grand American narrative. But I saw at the time and still now the real struggle there is. Life is great, but when you become of age with bills and children and things, life can be very sobering. Because of technological advances, websites like Flickr and Instagram now document every moment of our American narratives—both the good and the bad parts.

the current state of point-and-shoot glut, my series I can’t promise to try was born.

Back when photography was still novel, picture taking was much more thoughtful and limited by resources: film/printing. Today, we (regular people “capturing memories”) are free to create endless photographs, but what do we do with all these objects? Do we carry them around like the burden of our past? Of course, digital allows us to conveniently store images, but if they’re “out of sight, out of mind,” their temporary absence allows us take even more pictures. It can be overwhelming. Nowadays, I find that I take very few personal photos. But through my attempt to reconcile my nostalgia for deliberateness in photography and

When I first started the project, I was trying to recreate certain cliché subjects from places like Flickr, where if you did a search for “hummingbird,” you would find 10,000+ images of just about the same shot. I made my own hummingbird picture from a bunch of different hummingbird pictures on Flickr. Now I really just look for components by searching keywords. The newer work is much more about play and using these techniques I’ve developed to tell a story, rather than focusing on critiquing the idea of image making (conceptual), like I was early on.

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I am obsessed with the Internet and its swirling, raging currents of images. Context and intent are always shifting as pictures float around cyber space, and I was inspired to use these pictures as my subject, to create three dimensions out of the two-dimensional digital and photographic realm. After all, images are objects that stay with us. They are physical. Or at least physical in the way they impact our psyche as experienced moments.


Š Brandon Juhasz (4)

I can’t promise to try is my newest series. Exploring themes of failure and average-ness, it still employs the folded-paper dioramas made from photographs culled from the endless online databases of images. But now I am pushing more for a distinct pictorial narrative using a developed language of symbols, influenced more by narrative painters like Phillip Guston, Dana Schutz, sculptors like Tim Hawkinson and Kiki Smith, and most importantly, traditional American Folk artists. I find that photography is more a kin to folk in its way of telling a unique and perhaps foggy and or interpreted filtered recollection of the truth. I always joke that I am a terrible photographer. My training in both painting and photography and my inevitable astrologic Gemini birth rite means I know enough about the tool, the camera, to somehow sweet talk it into producing a good image, but I use the camera as a means to make more than a photograph. My work, then, is an extension of those twins forever battling, forever trying to resolve two very different sides of the same coin. This struggle is really the beginning of my work photographic work today. ✚ 41

© Brandon Juhasz (4)

© Witold Riedel American Society of Picture Professionals


I am obsessed with the Internet and its swirling, raging currents of




SOMETIMES KNOWING WHEN TO GET A MODEL or property release can be a real hassle, leading to a lot of questions: Is this work going to be used commercially? Does it have ANY chance of EVER being used commercially? Did I even bring the right paperwork with me to get the right model release signed? Thankfully, you’ve all got iPads now, and instead of always carrying around a binder full of paper and trying to match names and faces after the fact, there are now apps that let you snap pictures, edit a bit of info, and instantly send PDFs to everyone involved. The first one I ever ran across––and the one I have the most experience using–– is Easy Release from ApplicationGap. At $9.99, it is the most expensive of the apps I’m going to talk about but also seems to be the most flexible and full-featured. The app is well thought out and it isn’t surprising to discover that the developer is a photographer who used to work for Getty Images himself. The setup is very straightforward and easy to thumb through. You can set up and copy information from shoot to shoot as well as add or subtract info as needed. Unlike a lot of other apps that I’ve tinkered with, you have both the option to type in information from a model or choose to select the model info from your contacts. This is notable, as most of the other apps I’ve looked at either require you to type the info in field by field each time, or to have or add the model as a contact in order to use the form. Another great feature of Easy Release is that it will allow you to load custom letterhead into your releases. A generic release says, “I just downloaded this off the internet,” but a release with your own custom letterhead says, “I’m legit…and I have a lawyer.” There is also an add-on customization pack that allows for even more fields and branding options. Overall, Easy Release sits on the top of the pile for me, but if you’re not quite ready to drop $9.99, there are some free apps out there to at least get you started. As many of you probably know, The American Society of Media Photographers has an app called Releases that has standard ASMP releases as well as promotional and Getty releases all built in. You can also create new templates to speed up your workflow. What don’t you get? Custom fields, branded releases, or the ability to integrate with your contacts. Another option, the aptly tited “Model Release” from Mist Labs Inc, is a slick, but slightly less customizable release maker. It’s a bit more bare-bones than the previous two, but I found its ability to adjust font size to make sure your releases each fit on one page to be particularly thoughtful. While these apps do make life easier for you, it is still super important that you know what the releases are actually saying and to make sure they’re covering what you need them to be. It’s also important to note that all of these apps allow everyone American Society of Picture Professionals

to sign digitally, right there on the screen with their finger or a stylus. Some stock agencies don’t yet accept digital signatures, so you may want that AirPrint printer nearby so you can get reallife signatures. But hey, maybe that’ll change soon. According to Easy Release, there are three agencies that have publicly said they’d accept Easy Release releases, Getty Images, Alamy, and iStockPhoto. Another reason spending a few dollars may be worth your while in the end. To all our readers from stock image houses: What are your thoughts on the digital signatures, and will your policies be changing anytime soon? ✹


DiD you know we have fine art?

Fine Art | History | Photography

Still Standing

Curt Teich

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Historic Images that Capture Time and Place



GETTING GRABBY AS YOU MAY KNOW, INSTAGRAM, a company owned by Facebook, recently claimed the legal right to license to third parties photos posted on its website by its users without such users’ consent. Following this trend, Condé Nast has changed its form contracts to acquire rights to potential movies, television programs, and the like from authors and photographers who submit content to its publications. In addition, Agency France Press (“AFP”) in defending a copyright infringement lawsuit brought by Daniel Morel, alleged that, since Morel had posted his images on Twitter, AFP acquired the rights granted to Twitter and therefore could use the images without the photographer’s consent. With this constant barrage of rights grabs in the news, what’s really going on, and how can you protect yourself?

© Kim Berens

In September 2012, Instagram was acquired by Facebook, which is under pressure from investors to show greater earnings as a result of now being a publicly owned company. As a result, Instagram recently modified its terms to include the right to allow Instagram to license photographs posted on its platform to third parties and to use these photos in advertising, without first obtaining the permission of the user who posted the images. Indeed, this policy actually permitted such use without informing the owner.

INSTAGRAM recently modified its terms to include the right to allow Instagram to license photographs posted on its platform to third parties and to use these photos in advertising, without first obtaining the permission of the user who posted the images. American Society of Picture Professionals

Instagram has now backtracked on this rights grab, bowing to continuing and significant pressure in the form of negative feedback, account cancellations, and a general defection by many users to other platforms that permit the sharing of photographs without these onerous terms. In a press release, Kevin Systrom, a co-founder of Instagram, acknowledged that they made a poor business decision, although he disclaimed any intent to sell content provider photographs. He blamed it all on confusion and misinterpretation of legal documents. Content providers were not so kind and welcomed the withdrawal of this attempt at what they perceived as an unadulterated rights grab. To mitigate the damage, Instagram updated its Privacy Policy to highlight what it is calling a “new collaboration”, and to ensure that the content providers still have control over who sees their photos. This new Privacy Policy became effective on January 19, 2013. However, there is no certainty that this new policy will remain in place, since Instagram’s user policies are clearly still subject to change. Therefore, this issue has certainly not been fully resolved. On the other side of the coin is Condé Nast, who through its various magazines, including Wired, Vanity Fair, The New Yorker, and Vogue, offers a form contract to authors and photographers who supply content for their magazines, which, among other things, determines the rights granted to Condé Nast. These rights until now were generally limited to publication of the articles and photographs to be submitted in 48

domestic and foreign editions of the Condé Nast magazines, but the authors and photographers were recently faced with a difficult choice when Condé Nast unilaterally, and without input from content providers, amended its form contracts to provide that Condé Nast now has the option to obtain exclusive rights to film, television, and movie rights in the event material published in a Condé Nast publication is developed into a major feature film, television program, or a made-for-television movie. The author or photographer would receive a minimum amount if any project gets produced, with Condé Nast retaining the lion’s share.

a license for such use by posting the photos on Twitter. In short, AFP contended that as a result of such posting, Morel subjected the photos to the Terms of Service governing content posted on Twitter and TwitPic. As a result, claimed AFP, since these Terms of Service granted certain rights to the photos to Twitter, these Terms of Service by extension granted AFP a similar license.

The court granted Morel summary judgment against AFP for copyright infringement finding that the attempt at a rights grab through the Twitter account was not persuasive. The relevant TwitPic Terms of Service stated, among other things, that “by Although writers and their agents and other content providers uploading your photos on TwitPic you give TwitPic permission have rebelled against what they consider to be a naked rights to use or distribute your photos on or affiliated sites. grab, it remains to be seen how many will turn down the ability All images uploaded are copyright © their respective owners.” to work with Condé Nast. Condé Nast has justified these changes as an attempt to maximize its profit from programs made about its publications. Furthermore, since Condé Nast AFP attempted to extend these and other terms to make AFP Entertainment Group intends to expand into digital, film and a third party beneficiary of the license agreement between television entertainment, they claim to be able to bring the work Morel and Twitter based upon the argument that the Terms of of Condé Nast writers and photographers to those platforms and Service intended to confer a license to Twitter’s “other users” therefore be able to showcase their content in new ways as well (i.e., AFP). The court rejected this argument finding that the as creating expanded opportunities for their work to be enjoyed evidence did not reflect a clear intent to grant AFP any license by new audiences. Needless to say, content providers and their to remove the photos from Twitter (which AFP had done) and agents remain skeptical since Condé Nast is not a film company, then to license them to third parties (which it had also done). has basically no experience in the area, and has not offered the As a result, the court found AFP and the Post guilty of copyright content provider a fair share of distribution of profits by any sense. infringement, but found a factual dispute as to whether or not statutory damages would apply. The court also found factual Daniel Morel, a photojournalist, was in Haiti when the devastating issues that needed to be resolved in connection with the claims January 12, 2010 earthquake occurred. Morel captured a number involving Getty and left those claims to be decided at trial. of photographs of the aftermath, and posted them to Twitter through a TwitPic account. Shortly thereafter, a Lisandro Suero These three separate instances of attempts at a rights grab, one reposted these photos and tweeted that he had taken these currently beaten back by protest, one apparently successful at least exclusive photographs of the earthquake. The photos eventually at the moment, and one rejected by the courts, are perhaps just landed at AFP. AFP transmitted these photographs, which had symptoms of our current economy where everyone is attempting been credited to Suero, to Getty Images, Inc. for distribution to maximize profits or at least escape liability. I am sure we will worldwide. Morel, upon discovering that his images had been hear more concerning these subjects in the future. But I can’t distributed by AFP and Getty without his consent, and had even stress enough that content creators should heavily weigh the been wrongfully credited to Suero, advised (through Corbis, benefits you would receive from signing these contracts or not Inc., his stock photo agency) both AFP and Getty to cease and signing them. Of course, getting your work out to the masses desist from such use. The images were eventually withdrawn but is by and large a significant plus, but if you should decide to not before significant worldwide distribution had been made. sign a rights grab contract, you’d be forfeiting any future use or evolution of your work. Is it more important to get your work Litigation ensued in the United States District Court for the seen immediately, or building and owning your own portfolio Southern District of New York. In a preemptive action, AFP for the future your greatest concern? Remember that if you stay acted first by seeking a declaratory judgment that it had not informed, the ball will stay in your court, and negotiating for a infringed Morel’s copyrights in these photographs. Morel filed new contract is always possible, as long as you know your value, counterclaims against AFP, Getty and the Washington Post consult a lawyer, watch out for rights-grabbing language, and which published many of the photographs, asserting willful steer clear of the lip service. Get it all on paper. ✹ copyright infringement claims. AFP’s principal argument in opposition to the copyright infringement claims was that it could not be held liable since Morel had, in effect, granted AFP 49


Attorney and Business Consult Skyler Showell shares his knowledge of tax law during the workshop. A wonderful variety of delicious cupcakes from Georgetown Cupcakes was shared with the attendees.

DC/SOUTH SMART BUSINESS SKILLS FOR THE MODEN DAY PHOTOGRAPHER ASPP members take notes during the Smart Business Skills for the Modern Day Photographer workshop..

Jennifer Davis Heffner More than 60 photographers in the DC Metro area started 2013 off by attending a workshop put on by ASPP DC/ South Chapter and Women Photojournalists of Washington. Hosted by the Boston University Center for Digital Imaging Arts (BUCDIA) in the Georgetown area of Washington, DC, the workshop started bright and early Saturday, January 5, with Jenika McDavitt, author of Psychology for Photographers, who gave us insight on finding and reaching your ideal client using psychology principals.

Studio A at Boston University Center for Digital Imaging Arts (BUCDIA) in the Georgetown area of Washington DC provided great space for the Smart Business Skills for the Modern Day Photographer workshop..

After a cupcake break, with variety goodies from the famous Georgetown Cupcakes, we continued with the next speaker, Skyler Showell, a New York- and DC-based lawyer and business consultant. Skyler shared his knowledge on developing and sustaining smart business practices. The last speaker of the day was Mary Kate Battles, with Mary Kate McKenna Photography. Mary Kate gave some wonderful real-life examples of dealing with different types of clients as well as sharing the skills she uses on a daily basis to connect with new clients. The day ended with door prizes and a wonderful happy hour of networking.

American Society of Picture Professionals

All photos Š Mike Heffner/Vita Images

The second speaker was Jessica Shepard, a photographer and internet Guru, who shared her tips and tricks on how to build your business using search engine optimization, and after a lunch break, the workshop continued with Kristin Heydt, owner of Maypole, a marketing and communications company. She gave us the 411 on marketing and social media to help grow your business.


Mary Kate Battles, with Mary Kate McKenna Photography, shares her tips and tricks for staying organized and streamlining tasks.


NEW YORK A MORNING WITH “MARTHA SWOPE”: IN REHEARSAL Ron Steinman On Saturday, January 12, 2013, I walked with a friend to the library, where hot coffee and pastries accompanied the Martha Swope: In Rehearsal exhibition at the New York Public Library for the Performing Arts (LPA), a tour of which was sponsored by the ASPP New York chapter. Chapter co-presidents Daniella Nilva Cunningham and Jessica Moon warmly greeted us, and, joining ASPP members and friends, we embarked on a tour guided by LPT’s affable and knowledgeable curator of the exhibition, Barbara Cohen-Stratyner. Martha Swope is one of the most incomparable theater and dance photographers of the Twentieth Century. The exhibition had more than 100 images culled from Swope’s donation in 2010 to the LPA, a major repository for dance and theater images. Her bequest included her entire collection of more than 1.5 million images, ranging from contact sheets and negatives to slides and prints. Swope’s exhibit selection focuses on preparation: whether a drama, a musical, or the ballet, it is important for the artist to rehearse away from the eyes of critics and the audience. Rehearsals must always take place in private, out of sight of what could be prying, or—more to the point—annoying and interfering eyes. Rarely are outsiders privy to what goes on behind the scenes as a show or dance hashes out its way up to that magic moment when the curtain rises and the lights go on. Tensions are often high. Unlike most photographers, Martha Swope was always welcome at rehearsals. How did she earn that privilege? When Martha Swope first came to New York from a small town in Texas, she enrolled at the School of American Ballet, aspiring to become a ballerina. As a young student, she carried with her a Brownie camera, curiosity and a discerning eye. Unknown to her then, photography would prove to be a hidden talent.

All images © Jessica Moon Top: Barbara Cohen-Stratyner, curator of the Martha Swope exhibition at the New York Public Library, discusses the images with ASPP members. Bottom: Members of the NY Chapter listen intently to curator Barbara Cohen-Stratyner during her talk.

As a dancer she understood how to capture theater and dance artists at work in a unique way. Her career spans forty-years as the official dance and theater photographer for The New York Times, the New York City Ballet, and Martha Graham’s Dance Company. Many of the images in the exhibition are making their first appearance in public. Though some shots were posed, most were not. Seeing these intimate, special access photos of Stephen Sondheim, George Balanchine, Igor Stravinsky, the creators of West Side Story, Kevin Kline, Richard Burton, and Elizabeth Taylor, among many others, was worth the visit, thanks to ASPP and the event’s sponsor, the Everett Collection. 51


Kenn Duncan Collection Now Available



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American Society of Picture Professionals 54 Bain Collection (Library of Congress) 1912 Pennsylvania Delegation, Chicago. Photo Courtesy of George Grantham



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IN 1995, THE NEW YORK STATE MUSEUM staff were moving items out of The Willard Psychiatric Center as it was being closed. An attic full of suitcases was discovered in the pathology lab building. The cases were put into storage when their owners were admitted to Willard, and since the facility was set up to help people with chronic mental illness, these folks never left. The Museum made arrangements to have the suitcases moved to their Rotterdam storage facility, where staff meticulously catalogued each one and carefully wrapped and preserved their contents. Amherst, MA photographer Jon Crispin tenderly documented the ghostly remains of the patients’ personal belongings and tells TPP how the Museum and Willard staffers were able to preserve the hidden cache of luggage as part of the museum’s permanent collection. I had heard about the Willard Asylum suitcases long before I was able to start photographing them. I was eager to get access to the collection and was most fortunate to receive permission form the New York State Museum to begin the documentation.


Willard Suitcase #14, Peter (2). Each case included the Museum’s internal tag. #85 is the number assigned to Peter’s suitcase by Willard staff. 27358.1 is the unique patient number assigned on intake into the institution. 95.20 is the Museum’s catalogue number. The close-up shows how Willard staff numbered and described the cases.

As happens with most of the long-term projects I have done, I started with no clear idea of how I would actually go about doing the work. The cases had been catalogued by the staff at the museum, and each item inside was given a unique number and then wrapped in archival materials for preservation. The items were then placed back into their original suitcase, which was then covered in white acid free paper and secured with string. On the first day of shooting, I set up my seamless background and lights. As I placed the very first wrapped suitcase on my background, I knew immediately that I wanted to not only show the cases and their contents, but the care that the staff had shown in preserving them. The process was quite simple; I would photograph a wrapped case, then the partially unwrapped case, then the case itself with no wrapping, and finally the contents, which I usually laid out in or around the suitcase. The most difficult part was replacing the objects in their original wrapping. I was fortunate that, early on, I was able to hire Peggy Ross as an assistant, and she set up a great system for keeping us organized. I used full frame digital cameras for the project and relied primarily on a 105mm micro lens. The collection contains roughly 400 cases, of which I have photographed 80, using funding that was secured through a successful Kickstarter campaign that raised close to $20,000. I took a break from shooting to concentrate on editing those first 80 and plan to return to the project sometime in the next few months. My photographs will be part of the exhibit, “The Changing Face of What is Normal,” which opens at the Exploratorium in San Francisco on April 17, 2013. ✹ View more suitcases on Jon’s Wordpress site:

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Willard Suitcase #13, Steffan (2): I especially appreciated the way that the staff wrapped and preserved the individual interior items. My interest in the wrappings and the bows has actually increased. The three women that did most of the work each had a different style. Museum staff Sarah Jastremsky, Christine Allen, and Karen Chambers worked for months going through the cases cataloguing and then stabilizing each item. The curator, Craig Williams, was responsible for bringing the collection to the museum.

Willard Suitcase #10, Eleanor (2): The way in which the museum wrapped these suitcases really resonates with me on this one. It might be a bit difficult to make out, but the bow on this dress so resembles the way the string is tied on the outside of the wrapped cases that I immediately made a connection between the two.

Willard Suitcase #5, Mary: I haven’t any idea what I will find when I unwrap the cases. This one felt a bit heavier than others and when I opened it, it was mostly filled with fabric and lace that I am assuming Mary had made.

Willard Suitcase #19, Dmytre: In the early 1950s, Dmytre was committed to Syracuse Psychopathic Hospital and in 1953 was sent to Willard. He was there until 1977 and was discharged to a county home. His was an interesting case to photograph, as the contents seemed so personal.

All images ŠJon Crispin 57


Beautiful Britain Iain McKell Prestel Hardcover, 192 pages $39.95 Like famed portrait photographer Arnold Newman, Iain McKell was raised in a seaside hotel in Weymouth, and got his first job snapping portraits of tourists on day trips to the shore. But where Newman turned that experience into meticulously composed, psychological portraits of the powerful and famous, McKell found a deep love of local weirdos and a desire to capture sympathetic, subjective images of the fringes of British culture. Throughout Beautiful Britain, that sense of connection to the wonderfully weird—Diane Arbus was a big inspiration for McKell—permeates his loose snapshot style. There’s no objective distance or reserved framing of McKell’s shots of slaggy skinheads, rolling ravers, or soft-eyed gypsies; in the introductory essay by William Oliver, McKell tells him, “That’s what I really understand. For me it’s about

living those moments. I’m observing, but at the same time I’m projecting.” McKell’s work can best be seen through that desire to construct an identity, tying bridal gowns to boots and braces. He returns again and again to people in costumes, from the shot of the boy in the Batman mask that opens the book to revelers at the Summerset Carnival, from teenagers striking fashion poses to fat men in fetish drag. In the hands of someone else, the shots could come off sneering or exploitative, but McKell instead makes them intimate and relaxed. In Beautiful Britain, McKell sets out to catalogue all of the diversity and eccentricity of the island, and ends up with a fun, broad, and slightly scuzzy portrait of modern life. - JOSH STEICHMANN

King’s Cross, 1980. © Iain McKell American Society of Picture Professionals


Street Photography Now Sophie Howarth and Stephen McLaren Thames & Hudson Paperback, 240 pages $29.95 OK, I know: “street photography” has a long and distinguished history to it. Eugene Atget, Brassaï, Robert Frank, and Elliott Erwitt are just a few of the names recognized as its most astute practitioners, with CartierBresson (“the decisive moment”) pretty much universally recognized as the Michael Jordan of the genre. But I also have to admit my bias. As a former commercial photographer, and later as a specialist in the stock photography field, where control and perfection were key elements in producing imagery that would satisfy client needs, I often saw “street photography” as an easy out for shooters who were too lazy to learn the finer points of composition and lighting. And, while even in this otherwise deeply engaging book I can point to some images that seem mundane or poorly crafted, for the most part Street Photography Now succeeds in illustrating both the vibrancy and relevancy of today’s street specialists (as the authors point out in their introduction, “Street photography has undergone a resurgence. Flickr hosts over 400 dedicated street photography groups comprising nearly half a million members.”). While China certainly appears to be the flavor-of-themonth destination for many street shooters, the locations captured in Howarth and McLaren’s book reinforce the concept that we reside in a global village, which not only invites but almost demands to be photographed, whether in Sydney, Hamburg, New York, or Durban. No state, no matter how aggressively it attempts to control its media, seems immune from the probing lens of the street photographer, even in places like Cuba or Russia. And subject matter? Hey, it’s the streets, so anything goes, but people dominate over things, and there seem to be two divergent schools of thought (or seeing) at work here: one brand of street shooter likes to move in for the close-up, while the other group favors keeping a safe distance from their subjects. For example, while both Bruce Gilden and Trent Parke work in black and white, Gilden brings a Diane Arbus-like claustrophobic sensibility to his in-your-face portraits of his fellow New Yorkers, while Aussie Parke generally hangs back and often allows for more breathing space around the frame. Similarly, London’s Polly Braden has spent over 15 years filling frames with color imagery that documents the transformation of China from collectivism to capitalism, with all the extremes and contradictions that implies (one extraordinary image, nicely displayed over a page and a third, is a night scene that beautifully captures an aged woman who most likely grew up under Mao passing by a window display of lavish wedding gowns that would probably have The Chairman rolling in his grave); Frenchman Thierry Girard has also made the world’s most populous country one of his prime subjects, but with

© Polly Braden. Xiamen,Nightwalk, China 2007

far different results: he works in a far more deliberate manner necessitated by shooting the streets with a tripod-mounted medium format camera, with results that are more detached than Braden’s, but no less fascinating. For my money, the best of the street photography is that which coveys humorous or startling moments and juxtapositions. That, after all, truly seems to be the raison d’etre of the street photographer: to capture those quirky moments that most of us miss as we carry on with our “normal” days and remind us of what we’re missing. Howarth and McLaren state that “...humor has long formed as valid a part of the lexicon of street photography as more earnest social documentary.” And thus we have Maciej Dakowicz’s Cardiff party people enjoying late night snacks while surrounded by a sea of refuse; Melanie Einzig’s dude in an outrageous yellow get-up who seems engrossed in his knitting while taking the 6 train in New York (and, since it’s NYC, no one takes notice); David Gibson’s billboard worker on a ladder who appears to be unabashedly stimulating a female breast with his brush-on-a-stick; Nils Jorgensen’s London bus passenger having a stare-down contest with a passing transit ad; and Jeff Mermelstein’s knees-down perspective on a woman apparently taking her pet iguana for a walk (Really? REALLY?). There is no question that many of the images in “Street Photography Now” leave us to guess what’s going on and make up our own stories. As Trent Parke says, “My photographs are more questions than answers.” Not all street photography succeeds, of course, because of necessity it requires giving up that control aspect that I’ve always valued in my own photography and instead relying upon gut instincts, cat-like reactions, and a healthy dose of serendipity. New York’s Markus Hartel perhaps said it best: “Street photography is like gambling. You get lucky or you get nothing.” Count yourself lucky if you get a hold of a copy of this compelling survey of photographic life on the streets. - PAUL H. HENNING

American Society of Picture Professionals



BOOK REVIEWS © Snorri Bros.

SPOTLIGHT REVIEW Laundromat Snorri Bros. powerHouse Hardcover, 160 pages $40.00 Brooklyn’s powerHouse Books is aptly named, as every season brings new delights with gorgeous designs and a thoughtful approach to bookmaking. The Snorri Bros. Laundromat book is no exception. Both a cultural document and an aesthetic wonder, the colorful photographs herein seek to catalogue one of the last community gathering places left in New York City, where people of from all backgrounds must sojourn. Also a testament to the wonders of typography, most of the Laundromats photographed carry the relics of a time when varying, disparate fonts could somehow live in close capacity and be beautiful, but of course more is always better, right? We urge all you readers to take a look at the powerHouse Spring season to find more great titles. TPP makes a practice of drooling over their catalogues, which are thankfully digital, so they won’t get wet.

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© Rhombie Sandoval /

JOEL L. HECKER, ESQ. Practices in every aspect of photography and visual arts law, including copyright, licensing, publishing contracts, privacy rights, and other intellectual property issues, and acts as general counsel to photography and content-related businesses. In addition to writing for The Picture Professional, Hecker lectures and writes on these issues in PhotoStockNotes, the New York Bar Association Journal, and the association’s Entertainment, Arts and Sports Law Journal. He is a past trustee of the Copyright Society of the USA, and past chair of the Copyright and Literary Property Committee of the New York City Bar Association. Tel.: 212.447.9600; website:; email: JON CRISPIN has been working as a photographer his entire adult life. His work is divided between assignments, long-term photo documentary projects, and personal work. He lives in Amherst, MA.

PAUL H. HENNING was a professional location photographer for 15 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. RANDY TAYLOR started as a photojournalist, covering worldwide events on staff for Associated Press in Paris and for L’Agence Sygma in Miami. Randy then co-founded International Color Stock, and later became Vice President of the Press Division at Liaison Agency. Beyond photojournalism, Randy’s probono and industry creations include, Veripixel™, the numbering system for and assembly of the PLUS Media Matrix, Keyword Compiler keywording software, Stock Media, Creators Circle Magazine, Extreme Niche Marketing, and StockPhotoFinder, which searched 50 million stock photos at its peak. An ASPP member, Randy is a major proponent of copyright and has most recently been helping photographers and photo agencies to battle online copyright infringements.

The first time JOSH STEICHMANN got paid for photography was when he turned a snack shack at a summer camp into a 12-foot by 12-foot pinhole camera. Since then, he’s had a love of alternative processes, creative risk taking, and mural prints. Working as a writer, he’s covered everything from Elvis festivals to US Code 2257, and plenty in between. As a photographer, he’s shown across Michigan, and can usually be found jumping Los Angeles fences with a home-hacked Holga. JOHN SPAULDING is a photographer and photo editor based in Silver Spring, MD. Formerly head of promotional production BEN HIGH is an Iowan turned Angeleno turned Iowan. He used to photography for Discovery Channel, John left Discovery in 2003 be a music industry wonk and commercial photographer. Now to establish himself as a freelancer. John shoots for a variety of he designs fancy (sometimes photography-related) jewelry and corporate and editorial clients. shoots Polaroid and instant film. You can see what he’s up to at JENNY RESPRESS started speaking at fourteen months of age and hasn’t stopped since. When she isn’t busy finding hilarity in the absurd, she can be found playing with her Shih Tzu, Oliver. She lives in Boise, Idaho, and is currently the social media manager of The Picture Professional and an e-news blog editor for ASPP. 63


© Stella Kalinina •

Rodina (homeland) is a collection of images from my trips to see my family in Russia and Ukraine. During these trips, I am overcome with bittersweet nostalgia, seeing the beauty, gentleness, and sometimes roughness of my culture, yet realizing a level of separation between myself and my culture and people that is at once real and painful. I am overcome with memories of my childhood, and perhaps it is these innocent, happy images mimicking my memories that I seek to capture during my trips. – STELLA KALININA

American Society of Picture Professionals