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PORTFOLIO: Elizabeth Opalenik

ISSUE 4 / 2011


18 A DAY IN PHOTOGRAPY: TWO FOR THE ROAD by Richard B. Levine © David Sachs

26 THERE’S A PHONE IN MY CAMERA! Moving among porteños with a Nokia X2 Story and photographs by Ethan G. Salwen

38 ANATOMY OF A BID Connecting with a potential client on a deeper level can give you an edge by Frank Meo © Ethan G. Salwen

42 TALKING PHOTOGRAPHY: SUNRISE AT CAMPOBELLO …with Photo Workshop apologies to FDR by Frank Van Riper

44 THE LAW: NEW TEST FOR INJUNCTIVE RELIEF GOES NATIONAL The mere threat of injunctive relief was often sufficient to compel infringers to negotiate in good faith, but a new balancing test could change all that by Joel L. Hecker, Esq.


Photographing Sargent and Eunice Kennedy Shriver Story and photographs by Laurence L. Levin 1

PORTFOLIOS 20 PORTFOLIO: NEW YORK MOMENTS Photography by Frances M. Roberts and Richard B. Levine

32 PORTFOLIO: COMING HOME TO THE HEART Photography by Elizabeth Opalenik © Frances M. Roberts

DEPARTMENTS 5 PRESIDENT’S MESSAGE by Michael D. Masterson, ASPP National President

7 EDITOR’S LETTER by Niki Barrie, Editor-in-Chief of The Picture Professional

8 WHAT’S HANGING Photo exhibitions near you

48 CHAPTER CAPTURE Chapter meetings nationwide © Elizabeth Opalenik

54 BOOK REVIEWS What we’re reading

ABOUT THE COVER Elizabeth Opalenik thinks all of her work is essentially about poetic grace moving through an image. To read more about Elizabeth, see “Portfolio: Coming Home to the Heart.”

62 CONTRIBUTORS Writing for this issue

64 LIFE IN FOCUS A memorable event by Sharon Donahue


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.


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

Custom Medical Stock Photo Dan Suzio Photography Danita Delimont Stock Agency Fundamental Photographs Goodman/Van Riper Photography Jason Lauré Photography Landov Levine Roberts Photography Minden Pictures


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 Editorial Staff 2

Jain Lemos - Publisher Niki Barrie - Editor-in-Chief Ophelia Chong - Art Director Contributing Writers Niki Barrie Sharon Donahue Joel L. Hecker Paul H. Henning Laurence L. Levin

2010-2011 National Board of Directors President Michael Masterson Vice President Holly Marshall Secretary Sidney Hastings Treasurer Mary Fran Loftus Membership Maggie Fellner Hunt Technology co-chairs Cecilia de Querol Sam Merrell

Richard B. Levine

Past President Amy Wynn

Frank Meo

2011 Chapter Presidents

Ethan G. Salwen Brian Seed Rachel Seed

Nature Picture Library Photolibrary Robert Harding World Imagery Science Source/Photo Researchers Sisters Image Research Sovfoto/Eastfoto Terri Wright Image Research & Design The Granger Collection The Image Works

West Coast Mark Ippolito Ellen Herbert

Midwest George Sinclair Wendy Zieger New England Debra LaKind Jennifer Riley New York Dayna Bealy Jessica Moon DC/South Lori Epstein 2011 Sub-Chapter Vice Presidents Bay Area Mike Kahn Minnesota Julie Caruso Missouri Sid Hastings

The Kobal Collection The Museum of the City of New York Time & Life Picture Collection Travel USA Stock Photo VIREO/The Academy of Natural Sciences

Ohio Mandy Groszko Wisconsin Paul H. Henning Advertising & Executive Offices Jain Lemos Executive Director Editorial Niki Barrie National President Michael Masterson Membership Maggie Fellner Hunt Website ( Daryl Geraci Tel: 602.561.9535

Frank Van Riper

• 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: • 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 • ©2011 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



Historic Timeless Changing

New York

Close to 100,000 historic images available on line at the Museum of the City of New York’s Collections Portal at available for your next project!

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MCNY_ASPP_01.indd 1

11/21/11 4:44 PM

11 4:44 PM

PRESIDENT’S MESSAGE Michael Masterson ASPP National President


s you will know from the Editor’s Letter that follows, our beloved longtime editorin-chief, Niki Barrie, is stepping down from that role after more than 20 years of service. Her departure truly marks the end of an era, but also draws attention to the changes that we’ve all seen in The Picture Professional (TPP) over the years and particularly recently.

©Bob Schmolze

level with Cathy as the always poised and informed “face” of ASPP. Her support and gentle guidance in serving numerous national boards and their presidents, myself included, leave all of us in her debt.

Cathy follows in some illustrious footsteps in receiving this award. Her predecessors include Jane Kinne, Larry Levin, Anita Duncan, Niki Barrie (of course!), Nancy Wolff, Jerry Tavin, Danita Delimont and BarNiki and this magazine have grown together and both bara Smetzer. The award honors Cathy’s many years of outstanding leadership and service to the organizabecome better and better. As a result of her dedication as well as “the consummate professionalism and tion over these many years, TPP has morphed from an occasional, cobbled-together newsletter to a glossy friendship that she has extended to every member as four-color quarterly packed with educational articles, well as her efforts in unifying the photography industry as a whole.” portfolios and industry news. Niki’s unparalleled ability to bring together content from widely diverse The same can and has been said about Niki too. Both sources with minimal resources is a marvel to all of she and Cathy exemplify what’s best about our indusus who’ve worked with her. try and those who love it. They have given tirelessly Niki, more than anyone else, has made TPP what it is to ASPP, far and above what’s been asked, doing so today and we know it will continue to flourish as she without complaint and with very modest compensamoves on to other challenges. On a personal level, it tion. Both have made my job and others’ vastly easier has been an absolute pleasure working with Niki, her and immensely more enjoyable. Cathy will continue firm nudging regarding the quarterly agony of writing to support us as a member of the Board of Trustees and I hope we can induce Niki to make a guest apthis President’s Message notwithstanding. (And this one is no exception. Sorry, I’m late again, Niki. Best pearance in future issues of TPP. Regardless of how they’re involved in the future, both have left indelible warn your replacement!) imprints on ASPP and the picture industry. A mere thank you doesn’t seem enough to me, but it’s all I’ve Elsewhere in this issue you’ll also find an appreciation of Cathy D-P Sachs, ASPP’s Jane Kinne Picture got: thank you both. Professional of the Year for 2011. ASPP’s continued existence is a testament to Cathy’s devotion and artful Warmly, diplomacy. Her 15-year tenure as executive director heralded a period of increased growth and relevance Michael D. Masterson for our organization on a national and international



American Society of Picture Professionals

WHAT’S HANGING Photo exhibitions near you • Compiled by Niki Barrie

SFMOMA Francesca Woodman, Untitled, Providence, Rhode Island, 1977-78; gelatin silver print; 4-3/4 by 4-1/2 inches; The Black Dog Collection; © George and Betty Woodman.

SFMOMA Francesca Woodman, Polka Dots, Providence, Rhode Island, 1976; gelatin silver print; 5-1/4 x 5-1/4 inches; courtesy George and Betty Woodman; © George and Betty Woodman.

SFMOMA Sharon Lockhart, Dirty Don’s Delicious Dogs, 2008, chromogenic print, 41-1/16 by 51-1/16 inches; courtesy the artist and Blum & Poe, Los Angeles, Gladstone Gallery, New York and neugerriemscheider, Berlin, © Sharon Lockhart.



Center for Creative Photography 1030 North Olive Road Tucson The Archives The Center for Creative Photography is the largest institution in the world devoted to documenting the history of North American photography. At the heart of the center are the archives of more than 200 photographers, scholars, galleries, and organizations, comprised of 4.5 million items. The center has archives of living artists in addition to the archives of the founders—200+ archives in all. California SFMOMA 151 Third Street San Francisco November 5, 2011-February 20, 2012 “Francesca Woodman” Francesca Woodman was 22 when she took her own life in 1981. Still, some ten years before she died she had already produced a powerful body of photographs exploring the human body in architectural space and the complex problem of representing the self. Her work has greatly influenced American Society of Picture Professionals

subsequent generations of artists, particularly women. Approximately 160 vintage photographs, many not seen before, make up the exhibition. They are drawn primarily from the Woodman family’s personal collection and made available solely for this project. Mostly black and white, often inscribed with text by Woodman, the collection is more varied than previously thought. According to Corey Keller, SFMOMA associate curator of photography, “The intersections of Woodman’s work with feminist theory, conceptual art and photography’s relationship to both literature and performance are the hallmarks of the fertile moment in American photography during which she [Woodman] came of age—a time when schools were no longer producing commercial photographers but nurturing artists. Photography was also blossoming in museums and the market as well, producing a wildly diverse set of photographic practices. This exhibition examines the expression of a highly subjective artistic vision. It also presents a timely opportunity to reconsider Woodman’s work within this critical juncture in American photographic history.” This exhibition will travel to New York in 2012.

“Lunch Break” Through January 16, 2012 A large-scale film installation, selected images and a Bay Area edition of Sharon Lockhart’s free take-away newspaper, the Lunch Break Times are part of this exhibition where the artist reflects on the presence of the individual in the context of industrial labor. To create “Lunch Break,” Lockhart spent a year observing and engaging with blue-collar workers during their daily routines at Bath Iron Works, a naval shipyard in Bath, Maine. She explains, “In all of my projects, I work hard to make the participants partners so that the exchange is a personal one.” Lockhart’s 80-minute film depicts the activities of the workers during their midday break at the shipyard. The camera in slow-motion passes through a 1,200foot hallway without panning, zooming or changing in tempo, simply recording the factory works during normal lunch break routines…eating, talking, reading, taking a nap, etc. The space in Lockhart’s film is reflected in the architecture of the gallery installation and enhanced by a composition of industrial sounds collected from the factory space by filmmaker James Benning and composer Becky Allen.




athy never let me down. And, to my knowledge, she never let any of us down. No matter how many times we asked the same question, she always answered in a timely manner, and what’s more, she was pleasant and kind. Cathy got us through many rough patches at ASPP and then last year she announced she was leaving us. The best way I knew to thank her was to nominate her for the 2011 Picture Professional of the Year award.” —Anita Duncan, Photo Researchers Since ASPP initiated the Picture Professional of the Year Award in 2003, Cathy’s name has come up for it every year. However, because she did not feel it was appropriate for the executive director to receive the award, she recused herself. Despite the fact that she fit the criteria to a T with her long hours and dedication to ASPP and its members, the board(s) did not want to go against her wishes. Knowing that, it is not surprising that Cathy is receiving the award her first year into retirement from ASPP since she can’t stop us now.


“When I think of Cathy Sachs, an elegant, thoughtful lady comes to mind who approaches everyone with calmness, grace and understanding. In doing so she was able to skillfully run an organization of publishers, researchers and image suppliers who have some common and sometimes not so common interests. She was a pleasure to work with over the years, and it is fitting that she is the recipient of the award this year.”—Nancy E. Wolff, Esq., Cowan DeBaets Abrahams & Sheppard LLP

good balance between work and family. “This reflected her commitment not only to her own family, but to the right of all women to continue their professional careers even after starting a family,” says Joanne. We decided to create a baby nursery in our office. That way, we figured we could have our little ones with us until they became mobile. `We put up partitions to the back of our gallery space and brought in a crib, changing table, high chair and decorations to make them feel at home. No one knew what was on the other side of those white partitions but us! Of course our babies were good, so there were very few disturbances while we were on the phone with clients. And there was always an “auntie” to pick up the baby if any fussing did arise. For that very important first year, our children were with us every day. Cathy is my friend, my sister, my colleague, my mentor, and I am so proud that she is receiving this award. Her strength of character always has amazed me. In my mind, there is no one else who deserves it more.—Joanne Wheeler, National Geographic Image Collection When Joanne left Woodfin Camp to be a full-time mom, Cathy continued to run the office herself for several more years (20 in all) while also taking on ASPP duties. She added a third part-time job to the mix when she became picture editor and office manager for Kenneth Garrett Photography. When God made Cathy, he broke the mold. She is the most wonderful Human Being I have ever met. We worked together at Woodfin Camp and later she managed my office and stock photography business. The foundation that she built has kept me in business all these years. And her kindness and thoughtfulness are legendary.—Ken Garrett, Kenneth Garrett Photography

On a personal note, Cathy and I worked at Time-Life Books together many years ago. Then, back in 2000, Cathy convinced me to become the DC/South Chapter president, which turned out to be a highlight of my career, enabling me to meet and become friends with many people I would never have known otherwise and to learn so much more about the world of photography Greg Ogden, who worked for ASPP with Cathy for many years, outside of Time-Life. Plus, I owe my current job to her. —Marnie remembers his initial call to inquire about the job of advertising Briggs, Time-Life director. When Cathy asked him to come in, Greg told her his resume would need to be updated first and he wasn’t at that Prior to her work with ASPP, Cathy worked in the Photo moment dressed for an interview with the CEO of a major Department at Time Life Books in London and after moving to association. Cathy’s reply was classic, says Greg. She told him the United States, at Time Life Books in Alexandria, Virginia. that she was barefoot and in cutoffs, and as far as the resume was Then, Woodfin (Woody) Camp asked Cathy to leave Time Life concerned, she had already spoken with their mutual friend who and start a stock agency for him in Washington. “It was my had recommended him for the job and she didn’t need to see his perfect release from a ‘normal’ job situation,” says Cathy, “I was resume. able to work autonomously for the first time, and this in large part “This was the CEO who instantly snared me with her candor, set the stage for my role at ASPP. optimism and vigor. I was never disappointed in this initial Joanne Wheeler and Cathy worked together at Woodfin Camp Picture Agency for 13 years. One of Joanne’s fondest memories occurred shortly after both women gave birth to their first children, both boys. Cathy helped Joanne realize that to be happy with their new situation in life, they had to learn to maintain a American Society of Picture Professionals

assessment. I also was privileged to see her many other beautiful personal and professional characteristics over the years.” –Greg Ogden, retired Retiring from ASPP enabled Cathy to spend precious time with her ailing father in the UK and family time with her husband, two sons and their families, including two grandsons aged one and





on’t forget to give me your metro card,” I said to my wife Frances. It was midnight and our day, as usual, ended with a confabulation on mapping the next day’s events before calling it a night. That way we could set the alarm for an appropriate time.

In the morning, after checking the latest headlines and weather reports, we have a game plan. Our plans always have the caveat, “if nothing else happens.” Living in New York, anything can happen. Fortunately, as a husband and wife team of photographers, working under our combined name, “LevineRoberts,” Frances and I can always tap each other to pick up where the other one needs to leave off. Frances leaves for her morning gym workout while I start the day as most photographers do these days—by turning on the computer. Frances and I have always been a Mom and Pop shop, but we now have an able assistant—one of our three cats, who ably supervises the printer and sits on my lap to help me keyword. Two hours later, Frances leaves the gym. It is her job to buy the newspapers on her way home. Today, she meets me at the subway entrance before I head for City Hall. We have a quick discussion on how the rest of the day is shaping up. Afterwards, I head downtown to photograph a news conference by local politicos, and Frances goes home and takes a look at the newspapers. (When we’re home together, Frances takes the Times and I mine the tabloids.) I have the aforementioned metro card. Public transportation not only makes us green, but provides unexpected photo American Society of Picture Professionals

© Richard B. Levine

Richard B. Levine


opportunities. Over the years we’ve photographed a cowboy lassoing a trash can, a man in a spacesuit and people moving an array of household items via subway. The press conference is half an hour late. I use the time to catch up on the latest gossip from fellow photographers. I text Frances to keep her up to date. With the advent of digital, no one goes to a newsroom anymore so any kind of press event is a welcome opportunity to schmooze, network, swap tales and check out new equipment. After the news conference, I wander into City Hall where city workers are installing the latest public art. I make a few pictures. Meanwhile, Frances texts to say a magazine has emailed a wish list. I hop on the subway. On this trip, there are no characters riding the trains, just people on ipods or smart phones playing video games. At home, the radio is tuned to the all-news radio station. I check in with my favorite blogs before starting to work on the wish list. Keywording is the bane of a photographer’s existence, but it sure pays off. Frances and I play off each other for keywords, and it beats filing slides. The digital age came at the right time for us. Our analog library is housed in our bedroom, and it is at a point where we would have to put the mattress on top of filing cabinets to accommodate any more images. When we first started in this business, we spent our days waiting for Fed Ex or the UPS guy to pick up slides. When we began emailing photos, we enjoyed the freedom of no longer waiting for couriers and messengers. Now, we send digital light boxes and monitor email. Most picture researchers query by email too,

© Jefferson Siegel

© Frances M. Roberts

The High Line in New York City

and we miss the phone conversations. However, as tedious as we find staring at a computer screen, multitasking is more doable and everyone saves time. The cats have decided it’s time for lunch. Frances and I gobble bagels standing up while they munch away on tuna delight (or whatever it actually is). The all-news station reports there’s train trouble at Penn Station. So, we finish the want list and Frances takes off on foot to nearby Penn Station to check out the transit kerfuffle. She figures if the news angle doesn’t pan out, there might be a good stock of exasperated travelers. It comes as no surprise to Frances that the trouble at Penn Station is just a hiccup in the commuter rail line. She comes across a Korean food truck giving out free samples of bulgogi, so she photographs it and tries out the food. I finish researching and transmitting. The client’s ftp site makes it speedy. After Frances returns, we decide to wait a few more hours before going to the new High Line addition—that’s the new park built on disused elevated train tracks. We feel we can get some stellar pictures closer to sunset. Meanwhile, we make work plans for the weekend. We have a basic idea with two alternatives if there’s rain. Parade season has begun so we discuss logistics. We enjoy working parades together, but from a business point of view, it’s not practical. So, Frances will cover Brooklyn while I cover New York. If the weather turns sour—rain can spoil a parade—one alternative is to go into our storage and dig out slides that need to be digitized. After all, some of the stuff we shot has become archival and useable again. Hard to believe so much time has passed; standing over a lightbox and searching slide sheets has become unfamiliar. Another alternative is to go “shopping.” Frances may be the only woman whose idea of a good shopping spree is photographing people with an abundance of shopping bags, coming in and out of stores, window shopping, etc. We’re passionate

Frances Roberts and Richard Levine

about shopping! It’s America’s favorite pastime. It’s ours too. We’re off to the High Line after deciding what cameras and lenses to take. After some teasing and negotiating, Frances has the prime 50mm lens and I take the prime 35mm. It’s a shootout! When we arrive at the park, it seems as though half of New York and a good portion of tourists are there. It feels a bit like photographing a subway rush hour under trees. At the end of the High Line, there’s a Beer Garden and a strange exhibit with flying balloons. Turns out the balloons are an art installation. They look rather cool from the High Line. Not so hot from the ground. Hopefully they’ll sell to some travel or tourist magazine. The crowded park gives rise to all kinds of keywords we don’t normally associate with nature: congestion, crowds, single file, busy. We flee. Back home it’s my turn to hit the gym. But before I leave, I check email. Looks like all the editors went home early. Then Frances and I do a quick review of the High Line take. People often ask us how we shoot the same event. At a news conference, our head shots are often similar, though Frances favors the open mouth and I favor the closed one. But at parades and many other events, we see things differently—though neither one of us is above art directing the other. Take the High Line images, for example. We both homed in on the park’s version of the Great Lawn (the Great Lawn is in Central Park). I have a shot of a visitor doing a head stand. Frances has one of a woman walking barefoot with the skyline looming. We eat dinner after I get back from the gym. It’s European style tonight—after 10 p.m.—and we turn on the TV news to see what we missed and if what we covered made it into the news. TV cameras always do a cutaway to the press and sometimes the camera catches us though it’s usually the back of our heads or half an arm. At midnight, we’ve gone full circle, and it’s time to plot the next day’s adventures.


Elizabeth has worked as an accounting manager, interior designer, restaurateur, contractor and, as a child, she lived on a farm. In addition to her out-of-focus images, she has an interest in photojournalism. She has covered dancers, bullfighting, the female form and the Amish. A favorite photographic process for her is Mordançage. All of these paths, this variety, fuel her creativity. “The paths all converge, sometimes collide, and always keep me interested,” says Elizabeth. “I make images because I must. And my preference is still to make the image in camera. Crop is a four-letter world.” I MAKE IMAGES BECAUSE I MUST

Photography by Elizabeth Opalenik





uch of Elizabeth Opalenik’s imagery is lyrical. It has an ethereal beauty and a painterly quality. Her work is similar to the Pictorialists (a movement and aesthetic, 1845-1945, which regarded photography as fine art). While Elizabeth has much in common with the Pictorialists, she says she doesn’t think of herself that way. Coincidentally, though, she conducts workshops in the chalet at Little Good Harbor, Maine, which was a retreat of F. Holland Day in the early 1900s. “No matter which images are made there, they all seem to be channeling ‘Fred.’” says Elizabeth. Day was an influential and controversial Pictorialist known especially for his photographs of nude men and a series of images of the crucifixion of Christ, for which he also posed.

Barbara Goodbody, who is a former student of Elizabeth’s and on the Maine Media Workshops advisory board, bought the first limited edition platinum portfolio of the Amish from Elizabeth. She finds the photographer to be a brilliant artist and beloved, nurturing instructor whose love of experimentation is inspiring. Barbara says, “When I first saw her early images in her Amish work—images she made in the countryside where she grew up—I was moved to tears. They are beautifully crafted, and her platinum prints are exquisite. Often I hear one’s best work reflects one’s own soul. In this body of work, Elizabeth has combined her creative, finely honed talents in the craft with her love and sense of place. Dare I say a coming home to the heart.” According to Craig Stevens, professor of photography at the Savannah College of Art and Design, “…mastery of materials does not guarantee that art will happen. What is necessary is a moment in the process or maybe a series of moments in the process when the spirit of the image maker somehow invades the work being made. It is the magic that separates the expected with the unexpected.” Stevens recalled one such instance when Elizabeth was participating in a Mordançage workshop with the master Jean Pierre Sudre in his studio in Lacoste, France. Stevens describes the Mordançage process as bleaching a silver gelatin print in a mixture of very strong acidic and basic solutions that swell the blacks of the print so much that

American Society of Picture Professionals

after redevelopment, veils of black gelatin hang like spider webs on the image. In Sudre’s process, these veils would then be wiped away and the print washed and dried. Stevens continues, “Elizabeth looked at the veils and thought they were lovely and delicate and began to choreograph how they would lay on the paper, manipulating them by hand or with drops of water. The results were unexpected and enchanting. When Sudre looked at what Elizabeth had

ANATOMY OF A BID Connecting with a potential client on a deeper level can give you an edge Frank Meo

R 38

ecently my company,—an online search engine for photographers—was asked to bid on an intriguing job. Organic, Inc. a digital advertising agency out of San Francisco, was interested in Ron Haviv, one of our New York City photographers.

It seemed doable.The successful bidder would be responsible for casting teenagers to appear as suffering crystal meth drug addicts in six ads. I felt that this would be a wonderful creative challenge on many levels. A special-effects Hollywood makeup artist who can do open bloody sores and bad looking teeth would be hired. The ad agency team already knew they want to use a makeup person from Los Angeles regardless of whether they hired a photographer from California or one from New York, so I had to include the makeup artist’s expenses to come to New York in my budget.

In all, five bidding photographers were champing at the bit to work for Organic’s client,—a pro bono account that has won numerous awards. Of the five bidders, two were in Los Angeles, one in San Francisco and two in New York. I knew we would have to overcome the obvious advantage of the home teams (Los Angeles and San Francisco) who wouldn’t have I started working up preliminary numbers and quickly realized travel expenses as high as ours. Indeed, needed that the budget wasn’t the key to being awarded this job. The to watch every nickel. reality is everyone’s numbers should be in the same $45,00050,000 range. From a practical point of view, anyone coming in At first look, not good odds. However, if you’re in the game you under $40,000 would look unprofessional; over $55,000, like play to win! I never let myself consider that we didn’t have a they weren’t paying attention. We must stand apart from the other chance. My job was to make the agency think really hard about four photographers. using our photographer. Photographer Ron Haviv and producer Tricia Moran from First things first. I had an honest talk with art buyers Andrea Branching Out Productions, were all in on our end. We wanted Flaherty and Analisa Payne. Although we had never spoken this job bad. (I hate wanting anything that much, but I was before, we knew each other by virtue of being in the same smitten.) industry for many years. So immediately we clicked. It always amazes me that simply being a decent, fair person in this industry Usually I can find a “hook” that connects us with a project on solidifies your reputation. The art buyers were sincere and open a deeper level. Sometimes it’s an obscure detail, sometimes it’s and forthcoming in supplying information. cosmic. Other than the clear fact that we wanted to be part of helping this cause, nothing immediately came to mind. 1. Question: How many photographers are bidding? Meanwhile, we had a conference call with Organic and it went Answer: Five. great. Of course we spoke about the project details and realized The buyers told me who the bidders were. This was key. Once the importance of this community outreach and got a true feeling I knew who the other photographers were, I figured that the final about our mutual passion to help kids stay away from crystal decision was going to be a creative call. To my thinking, the only meth. Moreover, our team connected with the agency team on good reason not to be awarded a project is when a photographer’s various levels from the mundane to the Giants. We could tell these are genuine folks that we’d like to create powerful imagery style is not what the creative team and client are looking for. with. 2. Question: Does my photographer have a realistic chance at this project? Answer: Yes. They liked him a lot. 3. Question: Do you have a budget? Answer: Yes, $50K. Not bad for a pro bono project. American Society of Picture Professionals

So what is the hook, how can we stand out? I asked Ron Haviv to write a creative brief to express, unfiltered, his passion and approach to help eradicate this horrible plague on our society in six images. He did it in a couple paragraphs. Heavy stuff. It was a beautiful thing to read, no bullshit, straight from the heart. Secondly, in a practical way, we needed to connect the dots.

The three patriarchs of the old testament, Abraham, Isaac and Jacob. Fresco in the Church of Santa Maria delle Grotte ad Cryptas, Fossa, Italy. ŠSeat Archive/Alinari Archives/The Image Works


American Society of Picture Professionals


© Katina Houvouras

© Jennifer Davis Heffner

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


Photographer Aristide Economopolous talks about his experiences covering 9/11 to members of the ASPP DC/South Chapter on September 22, 2011, at Bus Boys and Poets in downtown Washington DC.



The ASPP New York Chapter’s Summer Garden Party was held on August 3 at the Bridgeman Art Library, the generous hosts of the summer parties for many years. After a streak of good luck dodging New York’s summer storms, this year the skies opened, and it rained off and on throughout the evening. Intrepid as ASPP members are, bad weather didn’t keep them and their friends from coming to the party and staying late into the evening. Many thanks to Ed Whitley and the staff of Bridgeman Art Library and to our kind sponsors, agefotostock, Cowan, DeBaets, Abrahams & Sheppard LLP, Barnes & Noble/Sterling Press, Grant Heilman, Newscom, 20/20 Software, Visual Connections, Photo Researchers, Dreamstime, Pond5, The Granger Collection, Prudential Centennial Realty and Young Photographers’ Alliance.—Cecelia deQuerol, National Technology co-chair

The DC/South Chapter hosted a special DC Picture Show at the downtown location of Busboys & Poets on September 22. The show was called “September 11th: A Look Back through Our Lens.” Pulitzer Prize-winning photographer Aristide Economopolous presented an amazing body of work from the disaster and shared his thoughts and stories with the audience. Other presenters included USA Today photographer Darr Beiser, who photographed at the Pentagon that morning and Joe Sutliff, who has drawn numerous political cartoons related to September 11. The proceeds from the show were donated to the 9/11 Memorial Fund.—Jennifer Davis Heffner, DC/South Communications co-chair

On October 5, 2011, the ASPP New York Chapter presented a seminary on “ePublshing Fundamentals,” hosted at Noble Desktop. Noble Deskstop instructor Dan Rodney discussed the emerging dominance of digital publishing, the differences between the various platforms such as Kindle, iPad etc., and the tools that designers and publishers are using to develop digital content such as Adobe Digital Publishing Suite, WoodWing, Mag+ and PressRun.—Cecelia deQuerol, National Technology co-chair American Society of Picture Professionals

On Saturday August 13, several hardy souls cycled together on the first DC/South bike ride through Rock Creek Park, the nation’s first federal park. Established in 1890, the park provides a natural habitat within the boundaries of Washington, DC. It extends 12 miles from the Potomac River to the Maryland border covering more than 2,000 acres. There are 25 miles of bike and hiking trails within the park. A hired bike guide led the group through a 14-mile circular ride. During the tour, deer were spotted and stops were made to have a break and photograph both manmade and geological sites. The ride was followed by a pot-luck lunch. All had an enjoyable, fulfilling morning.—Lori Epstein, DC/South president

© Jennifer Davis Heffner

Rain can’t stop ASPP members from partying! The New York Chapter’s Summer Garden Party was held at the Bridgeman Art Library, as it has for many years.

ASPP DC Picture Show presenters included, left to right, Aristide Economopolous, artist and former Picture Professional designer Joe Sutliff and photographer Darr Beiser

© Laurence L. Levin (3)


Designed by W. J. Douglas and built for $17,636 in 1902, the reinforced concrete arch of Boulder Bridge was faced with large fieldstones gathered from outside the park. The bridge blended admirably with its surroundings and survives as an outstanding specimen of naturalistic “parkitecture.” See historyculture/adhi2b.htm.

The Hardy Souls who participated in this event include, from left Off the bike and on the trails, ASPP DC/ to right, Ray Geuss with son Ray Jr., bike guide Ray Delaney, Lane South president Lori Epstein walks along McFadden, James Hale, Kate Olesin, Larry Levin, Lori Epstein and Rock Creek. Alice Starcke.

NEW ENGLAND The New England Chapter held a Summer Social on July 27 at Barlow’s Restaurant on the waterfront in South Boston. Members enjoyed a free drink on the chapter, and ordered some delicious pub grub. We had a great time networking and catching up with each other in the casual American-style neighborhood restaurant.—Carlton SooHoo, New England Community Outreach & Public Relations

© Carlton SooHoo/ (4)

The New England summer social was held at Barlow’s Restaurant in Boston Enjoying the festivities, from left to right, were Christine Myaskovsky, Jennifer Riley, Debra LaKind and Martha DiMeo.

Rachel Youdelman and Carlton SooHoo raise their glasses in a toast.

Food, drink and fun were had by all.


WEST: LOS ANGELES On Saturday, August 6, 2011, ASPP Los Angeles took part in a group tour of the “Beauty Culture” exhibit at The Annenberg Space for Photography in Century City. The exhibit has been described as “a seminal examination of photography’s role in capturing and defining notions of modern female beauty and how these images profoundly influence our lives in both celebratory and disturbing ways.” 170 photographs by more than 100 world-renowned photographers were on view in addition to an incredibly thought-provoking short documentary that further explored the themes of the exhibition.

© Kim Phipps (4)

The tour was followed by drinks and appetizers at X Bar at the Hyatt Regency Century Plaza Hotel. The afternoon became more of an adventure than was expected when a gust of wind turned over a patio umbrella, followed by a potted plant falling to the patio from a balcony above the bar. Once the group relocated to a safer and more comfortable area inside X Bar, they enjoyed some delicious food and engaging conversation. It was a fantastic opportunity to talk about the photo industry and the perfect atmosphere to get to know each other better.—Jason William Davis, Corbis


CLOCKWISE FROM TOP: ASPP members meet outside The Annenberg Space for Photography before taking in the “Beauty Culture” exhibition. The museum changes exhibitions every six months. Researcher/photographer Brantlea Scruggs relaxes at the Century Plaza Hotel. Corbis’ Jason Davis and Ellen Herbert, West Chapter co-president, talk under the palms at the Century Plaza Hotel. Corbis publicist and photographer relations associate Jason Davis looks at some of the images in the “Beauty Culture” exhibit.

American Society of Picture Professionals

© Kim Phipps (4)


Partnering with The House, whose clients include top photographers, ad agencies, design firms and corporate clients, gave ASPP access to the broadest base of picture professionals working today in Seattle. We also used the event to leverage and celebrate partnerships we’ve developed with fellow associations who share our goals of education and networking. ASPP, ASMP, APA, Graphic Artists Guild and AIGA all participated as paid sponsors of the event. We were successful in attracting corporate sponsors too. They include: The House, Squint, Danita Delimont Stock Photography and PNTA (Pacific Northwest Theatre Associates).

© Davis Herbig

Building on the momentum of our first all-day workshop in April, on August 24, ASPP-Seattle partnered with The House Studios, one of Seattle’s leading photo/ video production facilities, to host a Summer Social. Our objective in hosting the social was to raise awareness of ASPP across the greater Seattle area among creative professionals in the ultimate pursuit of building our local member base.

Among those attending the Seattle Chapter Summer Social, from left to right, Amy Andersen-Ross/Spaces Images, Mark Ippolito/Evolve Images, Dave Herbig/Danita Delimont agency, Tom Wear/Getty Images, Danita Delimont/Danita Delimont agency, Alison Ippolito, Ric Peterson/Art Institute of Seattle, Inti St.Clair/photographer, Jonathan Ross/photographer, Blend, Spaces.

We showcased new work from photographers, illustrators and designers at the event. More than 60 creatives submitted 300 portfolio images that appeared throughout the evening on a large projection screen. Each projected image was displayed prominently with photo credits recognizing the artist. Green Room Décor, a set design and furniture rental company, donated the use of luxurious white leather couches and chairs configured throughout the room, converting the cavernous studio into an intimate environment ideal for connection and conversation.


The result: More than 175 attendees turned out on a quintessentially beautiful Seattle summer evening, by far our largest attendance at a local ASPP event to date. We added 145 new contacts to our member prospect database and are now actively reaching out to them, sharing the benefits of ASPP and inviting them to become members, NATIONAL get involved and grow our community. Big thank you to our event chair, Christine Saunders, and our fabulous partners Emily Goodnight and Todd Dejarlais of The House Studios .—Mark Ippolito, West Chapter co-chair

Visitors mug it up for the camera in ASPP’s photo booth set up for Visual Connections in New York this past October. The photo booth was generously loaned to ASPP by photographer members Jennifer Davis Heffner and Rochelle Adams. Look for more fun photo booth images taken during Visual Connections on the ASPP National Facebook site.


ADVERTISE WITH THE ASPP ABOUT ASPP Readers of our magazine are decision makers! Our membership includes buyers, editors and researchers who collectively license millions of images each year for a variety of print and online publishers including National Geographic, Smithsonian, Pearson, AOL and Readers Digest. 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, you want to reach ASPP members.





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Death Valley is broken up by sections: North, East/Central, South and West, and within those Suzio enumerates more specific photoworthy sites. A handy alphabetic location chart and index in the back of the book will probably be referred to by the reader time and again. The index gives you the page numbers where you can find the location you are looking for and a map. The remainder is an easy reference providing elevation, time when wildflowers Many people have contributed to the text in this book. Joe bloom, information on light, birds, history, and notes and access Daniels and Alice Greenwald of the National September 11 information specific to each location. Memorial & Museum and Chris Ward of the Port Authority of New York and New Jersey provided the Foreword. Torres writes In his introduction, Suzio tells us that his purpose with this guide of the “stillness of the contents” (of Hangar 17) in his essay, “The is twofold. He provides advice in the first part of the book on Museum of Unnatural History.” New York Daily News reporter photographing some of the iconic landscapes, flora and fauna. and Newsweek editor and writer Jerry Adler wrote “Recovering These preliminary chapters are titled: Landscapes, Wildflowers, History”; Yale history professor David Blight contributed “Will Ghost Towns and Historic Sites and Wildlife. The second part it Ever Rise?”; and Seidler Ramirez, chief curator and director provides details on where to go and what to shoot when you get of collections at National September 11 Memorial & Museum, there, including practical advice like how far you have to walk to wrote “Seeing is Believing,” which is an essay about Francesc get from point A to point B. A map of all areas covered starts off this part of the book, and more detailed maps begin each section. Torres at Hanger 17. There is a photo of a four-foot-high object known as the composite. Incredibly, the composite weighs between 12 and 15 tons and holds the compressed remnants of four stories of one of the towers. Imagine: one foot per story! Bits of carbonized paper with words still intact remain on its surface, but would disintegrate if touched.

Wildrose Canyon in the West section includes Wildrose Campground, Charcoal Kilns, Wildrose Peak, Mahogany Flat, Telescope Peak. The text for each of these subsections begins with characteristics of the place followed by more specific information on the history, natural history and photo opportunities. Each section is structured the same way. Specifically, in Charcoal Kilns, the highlights are the charcoal kilns and reptiles. We learn that the wildflower blossom runs from April through June, the best light is in the late afternoon, elevation is 6,800 feet and access is from an eight-mile gravel road. A charcoal kiln is described and we’re told how they were used here. Also included is information on the area’s interesting history: One of the owners of the kilns (which were used only for about three years) was George Hearst, father of publisher William Randolph Hearst. Suzio goes on to describe the shapes and textures of kilns to get the photographer’s creative juices flowing, and he makes some personal photo suggestions.


Photos are liberally sprinkled throughout the book and camera information typically is included in the captions as well as additional shooting advice. Ending the book is a page of resources (park information, lodging in the park, websites to research additional maps, recommended books and more). Suzio is so knowledgeable about Death Valley and its many oases that teem with life and photo opportunities that his book would be helpful to anyone visiting the park, but especially to nature photographers. Death Valley Photographer’s Guide: Where and How to Get the Best Shots by Dan Suzio Nolina Press, 2011. $17.95. 114 pages.

Editor’s Note: Of the books reviewed here, two of the authors are ASPP members. The New York chapter’s Ilise Benum, the author of Guide to Money, is owner of Marketing Mentor, a consulting practice that provides guidance, accountability, practical strategies and inspiring ideas through one-on-one and Reviewed by Niki Barrie group mentoring. Dan Suzio, a West chapter member, who wrote Dan Suzio has been shooting in Death Valley for three decades Death Valley is a nature and wildlife photographer located in and now the best of his advice is available in Death Valley Berkeley, California. Photographer’s Guide: Where and How to Get the Best Shots. American Society of Picture Professionals

Issue 4, 2011: The Picture Professional Magazine  

ASPP's quarterly magazine