Issue 1, 2012: The Picture Professional Magazine

ISSUE 1 / 2012

THE QUARTERLY MAGAZINE OF THE AMERICAN SOCIETY OF PICTURE PROFESSIONALS

NOTES FROM THE PACA CONFERENCE PROTECTING YOUR

COPYRIGHTS

PORTFOLIOS FROM

LANE COLLINS & THE ART CENTER COLLEGE OF DESIGN ARCHITECTURAL PHOTOS BY

LELAND Y. LEE

PROFESSIONAL

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WHAT’S HANGING 08 PHOTO EXHIBITIONS NEAR YOU

BOOK REVIEWS WHAT WE’RE READING

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TABLE OF CONTENTS

PRESIDENT’S MESSAGE

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BY FRANK VAN RIPER

© Man Ray

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PORTFOLIO LELAND Y. LEE

© Jennifer MaHarry

TALKING PHOTOGRAPHY LISA TYSON ENNIS

PORTFOLIO 32 ART CENTER COLLEGE OF DESIGN

© Leland Y. Lee

© Heather Landis

© Lane Collins

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© Lisa Tyson Ennis

PORTFOLIO LANE COLLINS

BY MICHAEL MASTERSON

EDITOR’S LETTER

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BY APRIL WOLFE

ISSUE 1 / 2012 © AP

THE PICTURE PROFESSIONAL

CHANGES IN THE WIND

CHAPTER CAPTURE CHAPTER MEETINGS NATIONWIDE

CALISPHERE

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BY JOSH STEICHMANN

BY PAT HUNT

THE LAW:MASS DIGITIZATION 46

BY JOEL L. HECKER, ESQ.

COVER IMAGE: © LANE COLLINS “RABBIT”

CONTRIBUTORS

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LIFE IN FOCUS

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BY KIM PHIPPS 1

aspp.com

American Society of Picture

We are a community of image experts committed to sharing our experience and knowledge throughout the industry. We provide professional networking and educational opportunities. If you create, edit, license, manage or publish images, ASPP is the place for you.

Professionals

LIST OF ADVERTISERS Adobe SendNow age fotostock akg-images Art Resource Association Health Programs Aurora Photos Biosphoto Bridgeman Art Library

Corbis Curt Teich Postcard Archives Custom Medical Stock Photo Dan Suzio Photography Danita Delimont Stock Agency Fundamental Photographs Goodman/Van Riper Photography Jason Lauré Photography

Levine Roberts Photography Minden Pictures Nature Picture Library Robert Harding World Imagery Ron Sherman Photography Science Source/Photo Researchers Sisters Image Research Sovfoto/Eastfoto

MASTHEAD

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 director@aspp.com

Treasurer Mary Fran Loftus

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

Technology Cecilia de Querol

Bay Area Mike Kahn

Marketing & Communications Jennifer Davis Heffner

Minnesota Julie Caruso

Contributing Writers Joel L. Hecker, Esq. Frank Van Riper Pat Hunt Josh Steichmann Paul Henning Brian Seed 2012-2013 National Board of Directors President Michael Masterson Vice President Sam Merrell Secretary Sid Hastings

Membership Doug Brooks Holly Marshall

DC/South Lori Epstein Jeff Mauritzen

Editorial April Wolfe editor@aspp.com

2012 Sub-Chapter Vice Presidents

National President Michael Masterson michaeldmasterson@gmail.com

Missouri Sid Hastings

2012 Chapter Presidents

Ohio Mandy Groszko

West Mark Ippolito Jason Davis

Wisconsin Paul H. Henning

MidWest George Sinclair Wendy Zieger

Advertising & Executive Officers Jain Lemos Executive Director director@aspp.com

New England Jennifer Riley Debra LaKind

Terri Wright Image Research & Design The Granger Collection The Image Works The Kobal Collection The Museum of the City of New York Travel USA Stock Photo VIREO/The Academy of Natural Sciences Zooid Pictures

Membership Doug Brooks Holly Marshall membership@aspp.com Website Daryl Geraci webmanager@aspp.com Tel: 602-561-9535 eNews Blog Cecilia de Querol newsletter@aspp.com Website (www.aspp.com) Daryl Geraci webmanager@aspp.com Tel: 602-561-9535

New York Jessica Moon Daniella Nilva

• The American Society of Picture Professionals (ASPP) is a community of image experts committed to sharing their experience and knowledge throughout the industry and to promoting the professional and educational advancement of members. This non-profit, non-partisan association provides networking and educational opportunities for those who create, edit, research, license, manage or publish visual media.

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. Send articles and accompanying illustrations with clear captions and credit lines. Contact: editor@aspp.com • 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, 424-2479944. 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. Address changes: Send both old and new addresses to the National Office or update your individual profile in the Member Area on our website at www.aspp.com.

• ©2012 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

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A British airman drops a bomb on the enemy during a WWI air attack. c1915 ŠTopFoto / The Image Works

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editorial specialists for over 25 years historical

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religion

performing arts

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PO Box 443 Woodstock NY 12498 800.475.8801 845.679.8500 info@theimageworks.com aspp.com 3

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PRESIDENT’S MESSAGE

©Eric Raptosh

MICHAEL D. MASTERSON ASPP NATIONAL PRESIDENT

DEAR PICTURE PROS, We launch another era with this edition of The Picture Professional, our first crafted by April Wolfe, our new editor-in-chief. She’s stepping into the very big shoes of Niki Barrie (not literally of course—Niki’s feet are actually quite normally sized), jumping into her new role fearlessly, full of enthusiasm and ideas. That will be obvious once you finish skimming this and turn the page!

Look for expanded portfolios and features this year, along with the columns and departments you’ve always enjoyed. And we welcome your feedback and ideas. Just drop a line to editor@ aspp.com and let us know what you think.

The past year brought innumerable changes to the ASPP. We transitioned to a new executive director and moved our office from Virginia to California. Our society bylaws (not revised since 1983) were updated to reflect the changes in our industry and the law over the last decades. Our longtime magazine editorin-chief retired (see above), and we put a new publications team in place. The national board agreed to broaden our membership criteria to allow aspiring professionals to join as affiliates, and we added discounted memberships for military personnel and members living in the same household. We increased our member benefits, including a health insurance option, and our tech team revamped aspp.com, launching a new ASPP blog, and retooling our monthly e-newsletter as well.

The ASPP also held its biennial national board elections in November and welcomed new additions, including Jennifer Davis Heffner as marketing/communications chair and Doug Brooks as national membership co-chair. Holly Marshall moved from vice president into the other membership cochair position, and Sam Merrell traded technology for VP. All of us are grateful that Mary Fran Loftus stayed on as national treasurer, along with Cecilia de Querol, who continues to helm technology, and the ever-capable Sid Hastings, who’s serving as

secretary. Only Sid can make our meeting minutes so riveting!

And I was honored to be re-elected for a second term as your national president. You and I are both lucky to have such a strong, talented, energized national board.

We’re also starting the year off right with Corbis as a new corporate sponsor. You’ll find them as an advertiser in the magazine in print and now online. They have graciously agreed to sponsor the digital version of The Picture Professional, which will make its debut with this issue. The online version (which you may actually be reading by now) will broaden our reach and provide greater exposure for our advertisers.

And we have more goals for 2012, including further fine-tuning our Web site, launching a new user-friendly version of our “Find a Pro” feature, adding more member benefits, creating an ASPP Wikipedia page, updating and expanding our chapter handbook, kicking off a new membership and marketing campaign, and creating a membership initiative for graduating students. We’re also in the planning stages for a hoped-for one-day educational event later in the year. In the meantime, if you’re in Chicago, the Midwest chapter is hosting its annual education and networking day on April 27th. It’s always a terrific event, and this year’s will feature speakers, including Chris Reed from the U.S. Copyright Office and Chris Bain of Sterling Publishing.

So we look back on the past year with some measure of satisfaction—and exhaustion—and look forward to a year ahead, packed with new initiatives and goals to make the ASPP better than ever. Thanks for joining us!

MICHAEL

michaeldmasterson@gmail.com

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American Society of Picture Professionals

EDITOR’S LETTER

APRIL WOLFE EDITOR-IN-CHIEF OF THE PICTURE PROFESSIONAL DEAR ASPP FRIENDS, While many of you don’t know me, yet, I’ve been learning a great deal about you all and your wonderful organization. My predecessor, the great Niki Barrie, is a tough act to follow, but with my first issue of The Picture Professional, I’m setting some high bars for us to both retain all the original values of ASPP and simultaneously reach out to our up-and-coming prospective members, thereby ensuring a successful ASPP future to come.

The first offering we have for readers is an expanded Portfolio section, featuring photographers from the three phases of a professional’s career, including work from stellar Art Center students and recent grads, elemental beach scenes from globetrotter Lane Collins, and the iconic architectural and interior images of the great Leland Lee. Leland’s story is both inspiring and informative for every picture professional, as he relays the pitfalls and triumphs of almost seventy years of work.

In addition to the new portfolios, veteran Pat Hunt reports to us from the PACA conference, Frank Van Riper brings us a study of Lisa Tyson Ennis and the tradition of Ansel Adams, while newcomer Josh Steichmann discusses the Calisphere archival system. And lucky for us, Joel L. Hecker returns with some much-needed insight on copyright issues and what you can do to protect yourselves and future generations of photographers by setting a precedent. Rounding these out are our dispatches from local chapters, with photos from their awesome holiday events, and a Life in Focus from Tom Andrews.

We’re very excited about our direction and the prospect of reaching a broader audience with the new membership rates and benefits, but none of it would be possible without the concerted efforts of our new photo editor, Kim Phipps, publisher, Jain Lemos, president, Michael Masterson, and our designer, Ophelia Chong, all of whom have a proven dedication to the ASPP. I’m lucky to be in such good company, and I thank you all for the chance to helm this publication into a new and exciting direction. I encourage all members—past, present, and future—to feel free to contact me about contributing opportunities. We’re looking for fresh voices for articles and striking photos for our Life in Focus section, and if you’ve read our past issues, you know you’ll be in good company, too.

A. WOLFE 7

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WHAT’S HANGING

Photo exhibitions near you.

ARIZONA Center for Creative Photography 1030 North Olive Road Tucson Speaking in Tongues: Wallace Berman and Robert Heinecken, 1961-1976 March 24 - June 17, 2012 This landmark exhibition, curated by Claudia BohnSpector and Sam Mellon, brings the work of Berman and Heinecken—two seminal yet under-studied Los Angeles artists—into close conversation for the very first time. Each was interested in appropriating and repurposing images from mass media, which helped usher in the use of photography as a key element of contemporary avant-garde art. Their works are explored within the unique cultural context of 1960s and 1970s Southern California, as it fueled and amplified their highly original creative approaches.

© Robert Heinecken, Are You Rea (Title Page), 1964 –1968 Offset lithograph, 8.7 × 6.3 inches Center for Creative Photography, University of Arizona

© Wallace Berman: Untitled (Faceless Faces), 1963 Verifax collage, 31.125 × 31.125 × 1.5 inches The Museum of Contemporary Art, Los Angeles, Gift of Lannan Foundation American Society of Picture Professionals

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WHAT’S HANGING

CALIFORNIA Kopeikin Gallery 2766 La Cienega Blvd Los Angeles J. Bennett Fitts: 8 Dead Palm Trees February 25 – April 14, 2012 Los Angeles-based artist John Fitts’ new series, “8 Dead Palm Trees,” continues his fascination with lesser-known aspects of the Southern California landscape. These palm trees were found on the outskirts of more populated Southern California communities; remnants of failed real estate developments. As such, they are the last evidentiary traces of these failures.

As the population of Southern California has grown, developers, hopeful to capitalize on the seemingly endless population growth, have consistently looked farther east into the inhospitable regions of the Colorado and Mojave Deserts for their next real estate projects. Eventually, though, they pushed too far. Today, trees are all that remain of their aspirations. They were planted by developers with the intention of lining residential streets, but the homes were never built. They mark the entranceway to gated communities that never came to be and line the fairways of a desert golf course that is now nothing more than contoured hills of dirt. The geographic locales in which these trees were found could all be considered “the next” areas to be developed.

© J Bennett Fitts “If the Palm Tree is a sign of a desert oasis then what does a Dead Palm tree signify?”

The G2 Gallery 1503 Abbot Kinney Blvd.

Venice Nature LA: Cheryl Medow April 3 – May 13, 2012 Santa Monica-based artist Cheryl Medow creates images that cause viewers to wonder whether they are actual photographs or paintings. Cheryl’s montage work is heavily influenced by the dioramas of the Museum of Natural History. She studied ceramics at the famed Chouinard Institute and received a BA in Art from UCLA, concentrating on life drawing with charcoal and pastels.

Continuing her art education, Cheryl learned to make mono prints while in Santa Fe, New Mexico.

These qualities become apparent in her current photomontage work.

© Cheryl Medow Botswana Roller Awarded “Photographer’s Forum, Best of Photography 2011”

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WR0440290 Š Zoonar/Serg Zastavki

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© Lane Collins

Volition

THE IMAGES IN THIS SERIES, CALLED “ALCHEMY”, were created on the beaches of Nelson, New Zealand. When I first arrived in New

Zealand, I could physically sense how far away it was from the rest of the world. It was the first time in years I had felt immersed in nature on a daily basis, and reorienting myself was difficult. Now I could see the Milky Way from my backyard, but the constellations were different and The Man in the Moon was upside down, as was the rest of my world.

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BAL_March_2012.pdf

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S E Rvenice E N inI Swinter SIMA

SERENISSIMA venice in winter

PHOTOGRAPHS by FRANK VAN RIPER and JUDITH GOODMAN TEXT by FRANK VAN RIPER “One of life’s subtlest acquired pleasures is the Venice of winter, of mists and puddles, umbrellas and empty alleys and gondolas in the rain. This book magically acquires the pleasure for us—and no less miraculously — enables us to enjoy it all the year round.”

— JAN MORRIS, AUTHOR, THE WORLD OF VENICE; FELLOW OF THE ROYAL SOCIETY OF LITERATURE

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•

TEXT BY FRANK VAN RIP ER

AVAILABLE on AMAZON.COM and BARNESANDNOBLE.COM To order signed and inscribed copies, visit www.veniceinwinter.com American Society of Picture Professionals

“Serenissima: Venice in Winter takes us on the rare journey that a perfect book can and unravels the secrets of a very personal walk through the streets, canals, and homes of Venice…This book is a rare combination of pictures that take you there, and prose that lets you feel as if you’re watching it all from the corner of a small Venetian coffee bar, espresso in hand, ever glancing out the windows.”

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DIGITIZATION, COPYRIGHT THE LAW: MASS INFRINGEMENT SMALL CLAIMS JOEL L. HECKER, ESQ.

AND YOU

HOW WILL THE COPYRIGHT OFFICE PROTECT YOUR RIGHTS? The Copyright Office has formally recognized that the marketplace for digital versions of copyrighted books (and by extension, copyrighted photographs) is expanding rapidly.

Libraries and private parties clearly intend to mass digitize collections for various purposes, as evidenced by the Google Book Project. But the CO believes that issues concerning copyright law and new technologies, which were hotly debated in the Google Book cases, would benefit from further discussion among all stakeholders. To that end, the CO has now published an analysis of mass digitization issues and has, most importantly, commenced a study about the feasibility and desirability of providing a small-claims litigation alternative in copyright infringement cases, both of which it hopes will facilitate the nation’s continuing discussion on mass digitization policy. So what next?

The CO recognizes that these developments have sparked public debate on the risks and opportunities that mass book digitization may create. Questions raised by the Analysis include: What mass digitization projects are currently underway in the United States? What are the objectives, and who are the intended beneficiaries? How are the exclusive rights of copyright owners implicated? What exceptions or limitations may apply, to whom, and in what circumstances? To the extent that there are public policy goals at issue, what could Congress do to facilitate or control the boundaries of mass digitization projects? Are efficient and cost-effective licensing options available? Could Congress encourage or even require new licensing schemes for mass digitization? Could it provide direction and oversight to authors, publishers, libraries, and technology companies as they explore solutions?

THE QUESTIONS WE SHOULD ALL BE ASKING

A key preliminary consideration is the extent to which digitization projects are already underway, either on a mass scale or a more limited basis. In addition, whether the copyright owners are in a position to offer market solutions for mass digitization projects is considered an important part of the equation. Yet another concern is how to apply the existing copyright framework to the capture, collection, and preservation of “born digital” works, such as electronic books (“ebooks”) and digital photographs, and other visual artworks that might be incorporated in those books.

As many of you know, the Google Book Project litigations arose from Google’s mass digitations of books contained in several U.S. libraries—all of this without author or publisher consent.

The court ruled that the proposed class-action settlement for monetary loss on the part of copyright holders, however, would inappropriately implement a forward-looking business arrangement that would grant Google significant rights to exploit entire books without permission from copyright owners, while at the same time releasing claims well beyond those alleged in the complaint. The court also found that the proposed settlement encroached on Congress’s responsibility for setting copyright policy, which traditionally has been the exclusive domain of the legislative branch.

PICTURE PROFESSIONALS JOINING THE DISCUSSION All these questions apply equally to “orphan works” and to works still under copyright where the copyright owner is known and locatable. In the context of copyright law, the term “orphan work” generally means a work for which the copyright owner cannot be identified or located by a good faith user for the purpose of requesting permission. The Analysis acknowledges that the orphan-works problem is much more extreme in the area of photography than books, because the title page of books routinely identifies the author, publisher, and date of publication, while photographs often lack any copyright or ownership indicia.

In response to this, the CO recently issued a forty-page analysis, entitled Legal Issues in Mass Digitization: A Preliminary Analysis and Discussion Document (the “Analysis”). The stated purpose of the Analysis is to facilitate further discussion between the affected parties and the public about possible approaches to address issues raised by the intersection between copyright law and the mass digitization of books.

Although photographers were not specifically involved in that lawsuit, the opinion directly affected them, since a companion lawsuit brought by the American Society of Media Photographers and others against Google alleged substantially the same wrongdoings and sought substantially the same relief. It was the intent of the photographer plaintiffs to become a part of any resolution of the initial lawsuit so that any determination as to authors and publishers would thereby also encompass photographers. The photographers’ case is ongoing now that the proposed settlement agreement in the authors’ case has been rejected.

American Society of Picture Professionals

The Analysis refers to the CO’s 2006 Orphan Works Report, which was prepared for Congress. Legislation was introduced on the topic, and, in 2008, Congress came very close to adopting a consensus bill. The Analysis notes that the proposed legislation is a good starting point for the orphan-works discussion. Going forward, the Analysis suggests that Congress may want to explore orphan works in the context of large-scale digitization projects, addressing concerns like whether there should be more lenient or more stringent search requirements for these types of uses.

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CHAPTER CAPTURE

© Tom Wear

New York • Midwest • DC/South • New England • West

Keywording strategies speakers from left to right: Tracy Guza, Corbis; Amy Andersen-Ross, Spaces Images; Mark Ippolito, evolveimages.com; Morgan Henry, Digital Kitchen; Jay Carskadden, Jay Carskadden Graphic Design.

WEST - SEATTLE You Say Tomato, I Say Aardvark: Photographers and Findability Workshop

The Seattle ASPP West chapter hosted an event devoted to the topic of keywording, Photographers & Findability: ASPP Keywording Workshop, on November 9, 2011 at the Adobe Campus. The program was filled with tips for photographers, including consistent image tagging, developing keyword vocabularies, and applying metadata. A panel of experts, including Digital Kitchen producer Morgan Henry, graphic designer Jay Carskadden, co-founder of Spaces Images Amy Anderson Ross, and digital asset manager Tracy Guza, presented on the practical aspects of keywording for photographers and offered insight into what art buyers and photo editors are really looking for when searching for images on the Internet.

The program started with Tracy Guza, a digital asset manager from Corbis Images, featuring some examples of effective keywords versus inexact or misleading keywords. Tracy explained the concept of a controlled vocabulary, essentially a pre-determined list of a photographer’s most commonly used keywords. When applied consistently using a tool like Adobe Lightroom, a controlled vocabulary can lend ease and speed to a photographer’s workflow and Ms. Guza demonstrated this process with screenshots and examples. The most important takeaway was the fact that specificity and simplicity are the keys to accurate keywording.

ASPP West’s workshop on effective keywording strategies for buyers and sellers was held at the Adobe Campus in Seattle.

© Tom Wear

Peter Morville coined the term findability back in 2005, defining it as the degree to which a particular object is easy to discover or locate. Photographers are particularly interested in findability as it relates to their own photo collections—for streamlining workflow as an integral aspect of the archiving process and to potentially increase retrieval and promote sales activity in the stock photo arena.

© Tom Wear

Tracy Guza

Tracy Guza from Corbis Images discusses keywording

Moving further into the realities of running a successful photography business, Amy Anderson Ross of Spaces Images gave more examples and tips, including a marvelous highlevel guideline for keywording encouraging photographers to answer the questions who, what, where, when, why and how when selecting descriptive terms. Amy spoke about other keywording concerns such as ethnicity, synonyms, spelling, and British versus American English.

The most salient point of Ms. Anderson Ross’ presentation was that photographers can choose to employ a keywording vendor instead of doing it themselves, making the point that photography professionals invest a lot of time and money in locations, sets, assistants, retouching, and other services and that keywording can ultimately prove just as important.

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Jay Carskadden works on quite a few travel industry publications and sources and utilizes a high volume of images each month. She discussed her search strategy, but most importantly, expressed a desire for specificity especially on details like location, food and beverage descriptions, and the people featured in images.

Local photographer Adam Crowley was in the audience at the keywording event and said afterwards that his ultimate goal in keywording for a successful image search is “to find the perfect expression to link my images to a prospective buyer. The ASPP keywording event did a lot to keep my keywording strategies on target, by giving me information that I’m using right now, for my own images.”

Julie Caruso introduces speakers and talks about membership benefits at the event.

MIDWEST - MINNEAPOLIS Autumn Networking and Education Event Attorney Chris Sandberg discussing copyright updates.

Julie Caruso Organized by Minneapolis sub-chapter vice president Julie Caruso and member Christopher Sandberg, the ASPP Midwest Chapter held their biannual event in downtown Minneapolis, featuring industry guest speakers who examined the local, uniquely Midwestern photo world from the three lenses of future, present, and past.

In the comfort of the Lockridge, Grindal Nauen conference room, Troy Braun, a Minneapolis-based photo agent and teacher (www.thephotoagent.com), gave a presentation highlighting his photographers’ best and most innovative work. Troy pointed to current trends in the commercial photography business and what he looks for as an agent—valuable insight for those looking to get representation. Troy reps eight local photographers in GCI/motion, food, fashion, and editorial.

Don’s view of Minneapolis from the Guthrie Theater. The prominent building on the left is the Mill City Museum, which overlooks the Mississippi River.

Chris Sandberg, ASPP member, nature photographer, and lawyer with Lockridge, Grindal Nauen, gave us an update on what current and pressing copyright issues are affecting our industry and a review of his wonderful copyright presentation that he has given in Minneapolis and Chicago. Thanks to Chris, for helping make a little sense out of copyright and for finding an entertaining way to present it.

Last, but certainly not least, Don and Barbara Smetzer came in from Chicago to offer us some fascinating historical perspectives by sharing their wisdom gained from rich and varied photo careers. Barbara, the ASPP 2011 Picture Professional of the Year, was Editorial Director at CLICK/Chicago, Tony Stone Images, and Getty Images for many years. Counterpart Don has a diverse and successful career, including twenty-five years as a movie stills photographer and two years as chief photographer and director of photography for the US government in American Samoa. He was recently coined by ASMP Chicago as a “Living Legend of Photography.”

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© Don Smetzer (4)

CHAPTER CAPTURE

As avid consumers of stock imagery, both Morgan Henry and Jay Carskadden provided revealing glimpses into how they search for images and what they would like to see in terms of photographer keywords. Morgan walked the audience, filled with local photographers and a few image librarians, through his search process, generously citing his favorite sites and strategies.

Troy Braun presented the work of the photographers he represents through his agency, The Photo Agent.

CHAPTER CAPTURE

HOLIDAY PARTIES WEST - LOS ANGELES ASPP Los Angeles members and guests gathered on December 8, 2011, at the Kopeikin Gallery to celebrate the holiday season.

Gallery owner Paul Kopeikin was gracious enough to welcome us into his space for an evening of photography, cocktails, hors d’oeurves and lots of networking. On view during our event was the stunning work of Madrid-based photographer Marta Soul.

You can find additional information on the gallery’s website www.kopeikingallery.com. A fun highlight of the evening, aside from stimulating conversation with photo colleagues, was the awarding of several amazing door prizes—a beautiful gift basket courtesy of the Chanel boutique on Rodeo Drive and three of Nixon’s fun and sporty watches. © Kimberly Phipps Edie Tobias and Mary Peng, both from Corbis, examine a box of Chanel swag given away at the holiday party.

NEW YORK More than 100 industry professionals turned out to celebrate the 2011 annual ASPP New York Holiday Party honoring Cathy Sachs, who received the Jane Kinne Picture Professional of the Year Award. Photographers, editors, picture buyers and industry folks were in attendance on December 7, 2011 at the WIN-Initiative headquarters. WIN-Initiative is an independent stock agency established as a source for edgy, global youth culture imagery located in SoHo. MIDWEST Midwest ASPP members and their guests shared a great evening of camaraderie and holiday cheer. A wonderful spread of food and wine had something to please everyone. The hand crafted artisan chocolates made a memorable impression on this attendee. The band performed a great selection of tunes that had everyone on their feet dancing. An abundant number of gorgeous picture books were given out as door prizes so that many attendees left with a souvenir of the evening.

© www.robertherman.com Michael Masterson, ASPP National President, laughs after presenting the customary “Picture Professional of the Year” tiara to Cathy Sachs, who’s being congratulated by Jerry Tavin, a previous honoree.

DC - SOUTH ASPP DC/South held a New Year event at the Barrel Oak Winery in Virginia where members and guests enjoyed an afternoon of wine and refreshments to kick off 2012!

© Kimberly Phipps Retiring Chapter President, Ellen Herbert, and new Chapter President, Jason Davis, enjoy raffling off party gifts at the Kopeikin Gallery.

© Jennifer Davis Heffner/Vita Images Lori Dunevant, (left) with Barrel Oak Winery in Delaplane, Va., talks to American Society of Picture Professionals members John Loggins, (second to left) Beth Partain, Lori Epstein and Jeff Mauritzen about the wine they are tasting during the ASPP DC/South New Year’s event on January 15, 2012.

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DANITA DELIMONT Stock Photography

www.DanitaDelimont.com

Math—it’s everywhere. Part of the discovery of travel is to open our eyes and see these things. Centuries-old mosaics with geometric tiles; triangles found in the structure of bridges; feats of architectural wonder that only an engineer could build; the joys of kite flying no matter what the shape—these are the shapes of our world no matter what the language. Exciting images that engage students and show examples of educational disciplines across the globe is one of our strengths. As we move into the 21st century we need to show our children the joys and wonder of math and all it can be! For more information, visit DanitaDelimont.com call us at 425-562-1543 or email Danita@DanitaDelimont.com.

American Society of Picture Professionals

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Likewise, the keywords and indexing are incomplete, and without the ability to sort results, it can make looking for one specific image more of a chore. That Calisphere sees their primary audience as K-12 teachers is obvious, if a bit frustrating. But for These Americans-style browsing or creating a robust swipe file, Calisphere connects solidly.

Usage rights are still determined by local institutions, and there’s no one-click way to contact them yet, but plenty are from the sweet spot of print-ready and pre1923 creation, and doing a simple search for “California Historical Society” yields a number of possibilities within which one can search for further keywords to find an image for a very reasonable price from the CHS. With Calisphere, finding the right photo from a Californian archive just got a little easier. AB Golden Gate Park. [Building at Children’s Playground (Sharon Playground)] Photographer: Unknown 1906 [Cyanotype] Courtesy, California Historical Society, FN-34959

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American Society of Picture Professionals

© Nina Wurtzel

© Judith Goodman

JOEL L. HECKER, ESQ. practices in every aspect of photography

FRANK VAN RIPER is a Washington-based photographer, journalist, author and lecturer. He served for 20 years in the New York Daily News Washington Bureau as White House correspondent, national political correspondent and Washington bureau news editor, and was a 1979 Nieman Fellow at Harvard. His photography books include Faces of the Eastern Shore; Down East Maine/A World Apart; and Talking Photography. Frank’s latest book (done in collaboration with his wife and partner Judith Goodman) is Serenissima: Venice in Winter. Frank and Judith conduct The Umbria Photo Workshops in Italy, www.experienceumbria.com, and each summer they lead the Lubec Photo Workshops at SummerKeys in Lubec, Maine. Frank’s website is www.GVRphoto.com.

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 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.: 212.557.9600; website: www.RussoandBurke.com; email: HeckerEsq@aol.com.

CONTRIBUTORS ISSUE 1 / 2012 THE PICTURE PROFESSIONAL

© Mark Hunt

PAT HUNT Pat Hunt is a writer and workshop leader for the stock photo industry, and managing director of Huntstock.com in Boston, in partnership with Mark Hunt, creative director. Huntstock is a lifestyle image and footage production company, specializing in People with Disabilities, Elder Lifestyle, Industry/Technology and Boston Icons. Mark has been featured in magazines for his iconic travel photography, and for the community being built around Positive Lifestyle with Disabilities. pat@huntstock.com.

© Barry Mulling

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. His article on Calisphere is his first for The Picture Professional.

© Rachel Seed

© Paul H. Henning

BRIAN SEED

PAUL H. HENNING

Book Reviewer Writer/photographer

Book Reviewer.

Photography consultant and CEO of Stock Answers LLC

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