aug1993

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Communication Arts (ISSN 0010-3519) is published eight times a year, January/February, March/April, May/June , July, August, September/October, November, December

by Coyne & Blanchard, Inc. 410 Sherman Avenue, Palo Alto, California 94306 Copyright 1993 by Coyne & Blanchard, Inc. Patrick Coyne, editor and designer; Jean A . Coyne, executive editor; Stephanie Steyer-Coyne, consulting editor and designer; Anne Telford, managing editor; Scott Perry, production manager; Ron Niewald, Scott Teaford, production; Michael Krigel, advertising and circulation director; Art Carbone, retail sales; Nancy Hagemann , administrative assistant; Sue Sprinkle, editorial assistant; Vickie Perry, subscription manager; Luz Hugo , Jason Jackson , Priscilla Solera, subscriptions; Lisa Marie Perez, traffic manager; Richard Coyne.founder Cover: © 1993 Howard Schatz

COMMUNICATION ARTS 1993

PHOTOGRAPHY

B ADVERTISING

38 BOOKS

48 EDITORIAL

Volume 35, Number 4

84 FOR SALE

91 INSTITUTIONAL

11 a SELF-PROMOTION

131 UNPUBLISHED

ANNUAL

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lBO TECHNOLOGY An overview of photography-based multimedia on CD-ROM. 170 D ESIGN T ECHNOLOGY Wendy Richmond on our design community.

172 T ECHNOLOGY Maria Piscopo on the buying and selling of digital images.

180 TECHNOLOGY R EVIEWS Lisa Spiegelman reviews digital image cataloging software.

184 TECHNOLOGY R ESOURCES Books, magazines, newsletters, seminars and training . c 0

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192 FREE- LANCE Barbara Gordon asks photography reps what it takes to be successful in today's marketplace.

197 D ESIGN I SSUES Jeff Seaver on the problems facing free-lance illustrators.

206 L EGAL A FFAIRS

An excerpt from Pricing Photography by Michal Heron and David MacTavish.

215 ADVERTISING Norman Grey on why practicing professionals need to teach while they're still working.

D E P A R T M E N T S

152 EDITOR'S COLUMN 156 CONTRIBUTORS

220 BOOK R EVIEWS 224 M ATERIALS, A VAILABLE LITERATURE

226 C LUBS, CONFERENCES, S EMINARS 227 I NDEX TO P HOTOGRAPHERS 230 I NDEX TO ART D IRECTORS , D ESIGN FIRMS , AGENCIES AND CLIENTS

All pieces reproduced in this issue are under prior copyright by the creators or by contractual arrangements with their clients.

Nothing shown may be reproduced in any farm without obtaining the permission of the creators and any other person or company who may have copyright ownership.

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CST Number 127848620 Foreign : one year-$95 (U.S.); two years-$185 Single issues: $7 except lllustration Annual (July) $14, Photography Annual (August) $14, Design Annual (November) $21 and Advertising Annual (December) $21. California residents add 8.25% sales tax.

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No responsibility will be assumed for unsolicited editorial contributions. Manuscripts or other material to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

ADVERTISING 1 Frank Herholdt, photographer Lee Golding , art director Miller & Leeves Waht, ad agency Prestons. client

Ad headline: What's a girl to do if she can 't find her diamond at Prestons?

2 Dennis Murphy, photographer Armando Hernandez, art director Tucker Hasler, writer Bill Oakley, creative director Temerlin McClain, ad agency Dallas International Sports Comm ission. cl ient Billboard headline: See the wide world of sports without commercial interruptions.

3 Bryan F. Peterson, photographer Chuck Pennington. art director Ogilvy & Mather, ad agency Nintendo, client New game teaser. Ad headline: Only the animals know.

4 Terry Husebye, photographer/art director Laura Tarrish , designer Laura Tarrish Design, design firm Primal Lite, Inc ., client String light manufacturer brochure .

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1 (series) Daniel Wreszin. photographer Andy Frank/Daniel Wreszin, art directors Andy Frank, designer Jefferson/Acker, ad agency Fostex Corporation of America, client Ad headlines: My feet just, like, took over.

They're already juiced when you show up. I can almost fit my whole studio in my mouth.

2 Brad Schwarm, photographer Judy Little, art director Riddell Advertising & Design , ad agency Mongoose Bicycles, client Ad headline over a double-page spread (left side is a copy page): The Thousand Words.

The Picture.

3 Hans Neleman, photographer Gabe Difiore, art director Clockwork Apple, model maker Eisaman, Johns & Laws, ad agency Hiram Walker Inc., client

Ad headline: The colder the better.

4 Rick Rusing, photographer John Boone. art director/designer Team One Advertising, ad agency Beechcraft-Starship, client Magazine ad headline: You can tell a lot about a CEO by his wingtips .

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1 (series) Robert Mizono, photographer Rich Shiro/Dexter Fedor/Dennis McVey, art directors Ketchum Advertising, ad agency Bank of America. client Ad headlines: A Unique Approach . The Right Balance.

Structural Integrity. In a Different Light.

2 (series) Hakan Ludwigsson. photographer Morten Saether, art director Reklambyraet Leo Burnett A/S, Oslo, ad agency NSB Norwegian Railways, client Ad headlines: The train is to let your thoughts fly .

The train is a good book.

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1 Nick Vedros, photographer Tom Smith, art director/designer Wyse Advertising, ad agency Penton Publications, client

Ad promoting an article about the American economy, headline: Our Standard of Living is Dying .

2 John Huet, photographer David Fox, art director Wieden & Kennedy, ad agency Nike, design/client National apparel ad campaign. Headline: Machine Wash. Cold Water. Do Not Bleach . Tumble Ory. Have Heroes.

3 Bill Miles, photographer Todd Riddle, art director Hill, Holliday, Connors, Cosmopulos, lnc.,ad agency Bank of Boston, client Ad for investment portfolio which promotes an active lifestyle after 50. Headline: Every bank knows how to deal with a CO when it matures. But what about when the customer does?

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Jim Arndt. photographer Alan Godshall, art director Stockton West Burkhart. ad agency Ralston Purina Co .. client Ad for dog food . Headline: If you are going to hunt him under these conditions. you better feed him under these ...

2 Jon Gipe. photographer Hal Barber. art director Terry Slaughter, creative director SlaughterHanson Advertising, ad agency Polarbek. client Print ad for Village Management Apartments. Headline: Get a Life .

3 Stewart Charles Cohen. photographer Jayne Bremec. art director Grey Direct, ad agency Sears. client

Direct mail selling children's lifestyles.

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Glen Wexler, photographer Hugh Syme, art director lnterscope Records, client Album cover for Unruly Child .

2 Robert Lewis, photographer Risa Zaitschek/Chris Austopchuk, art directors Risa Zaitschek, designer Sony Music Enterta inment. design Epic Records, client

CO cover, "Stanley, Son of Theodore : Yet Another Alternative Music Sampler."

3 Michael O'Brien , photographer Susan Westre, art director BBDO Los Angeles, ad agency Apple Computer, Inc., client Ad headline: PowerBook. It's the next thing .

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1 (series) Rob in Hood. photographer Terri Burmester. art director Bradley Communications. ad agency Alaska Tourism . cl ient National print campa ign . Headline for all the ads: 100 Pages of Free Advice For Anyone Ready to Discover Alaska .

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1 Phil Banko, photographer Mitch Craig/Mark Peterson, art directors Pinnacle Effects. agency/client

Trade ad headline: Smashing special effects .

2 (series) John Huet. photographer David Fox. art director Katy Tisch, designer Wieden & Kennedy, ad agency Nike, design/client

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Malcolm Venville. photographer Mark Denton/Andy McKay, art directors Simons Palmer Denton Clemmow & Johnson, ad agency Wrangler. client

2 Graham Westmoreland , photographer Warren Eakins. art director/designer Wieden & Kennedy, ad agency Nike, client Double-page ad to show how the shoes cope with difficult terrain .

Headline: You might not be able to tell if the sky was 35% bluer today. But you 'd definitely notice if your shoes had 35% more air. The new Air Max.

3 Sue Bennett. photographer Bob Wisner, creative director Hutchins/Young & Rubicam, ad agency Eastman Kodak, client Biker captured on Kodak High Speed Infrared Film .

4 Jeff Ott. photographer Larry Johannes. creative director Uniden America Corporation, agency/client

Used as a magazine ad, poster and billboard . Headline: Real pagers for a real world .

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1 (series) Nadav Kander. photographer Mark Nightingale/Noel Hasson, art directors Harari Page, ad agency Mulberry, client Headline: Mulberry handbags, an essential part of the English landscape. Head: The Gamekeeper's Bag; The International Grip; The Planner.

2 Frank Walsh. Rieder & Walsh. photographer Brian Bronaugh, art director Werner Chepelsky & Partners. ad agency Mellon Bank. client Billboard and bus card . Headline: There's always a new reason to preserve our neighborhoods.

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1 Bill Robbins, photographer Steve Lauri, art director Wakeman & DeForrest, ad agency Upper Deck Trading Cards, client

Double-page spread, headline: Trade Up.

2 Jim Arndt, photographer Arty Tan, art director Fal Ion Mc El Iigott, ad agency Icebox Custom Framing, client 3 (series) Michael Lavine, photographer Cliff Sloan, art director The Sloan Design Group, design firm Johnson & Johnson/MTV, clients MTV's "House of Style" and Johnson & Johnson booklet used to show current trends and launch a new skin care product, Clean & Clear.

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Joanne Dugan , photographer Ann Lee Fuller, designer Roth McMahon Commun ications, ad agency Michael George, client Direct mail card for a floral des igner.

2 (series) Clint Clemens, photographer Warren Johnson, art director/designer Carmichael Lynch , ad agency Harley-Davidson. client Running shots for literature, photographed in Milwaukee.

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1 Stephen Wilkes. photographer Oscar Recalde. art director James Caporimo. creative director Waring & LaRosa, ad agency Perrier. client Double-page ad headline: On a turnout along the Coast Highway just north of Laguna Beach there 's a place where the talk is usually about water. They call it the Shake Shack. Perrier. Part of the local color.

2 Graham Westmoreland, photographer Warren Eakins. art director/designer Wieden &Kennedy, agency Nike, client

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Double-page ad for Air Huarache International. Headline: In a perfect world, it would never rain when you were out running . You'd also have a great fitting pair of shoes that didn't weigh much.

3 Lars Topelmann , photographer Joe Shands/Mike Sheen, art directors/writers Cole & Weber. ad agency Klein , client Ad headline: Make-up by Klein .

4 Tom Ryan, photographer Melinda Jones, art director Bartels & Company, ad agency Piedmont High School , client Poster for Leonard J. Waxdeck's Bird Calling Contest.

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1 (series) James Schnepf, photographer Jacqueline Norris, art director Home Box Office, Inc., client Ad portraits from the HBO movie, The Last of His Tribe.

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Brett Froomer. photographer David Davidian. art director Joel Sobelson, creative director FCB/Leber Katz Partners. ad agency Jamaica Tourist Board. client Ad headline: Yes. Come to Jamaica and feel alright.

2 Brad Trent. photographer Mike Schell. art director Brian Mullaney, writer Schell/Mullaney, ad agency Computer Associates, client Advertising campaign for Demo-Disc.

Headline: Ping pong mania is sweeping the nation. Sales are bouncing through the roof. And my competition is swatting air.

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Jim Erickson. photographer Jelly Helm. art director Larry Frey/Stacy Wall, writers Wieden & Kennedy, ad agency Nike. client Ad headline: You cannot go back in time .

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ADVERTISING

1 Wyatt McSpadden. photographer Beverly Cook Perry, art director/designer Graphic Design, design firm Fiel Publications. client

Photograph for CD cover "Buck Ramsey: Rolling Uphill from Texas." a collection of cowboy songs .

2 John Huet, photographer Tyler Smith, art director/designer/design firm Louis, Boston, client Spring apparel campaign .

3 Tom Ryan. photographer Bryan Burlison. art director/designer RBMM. design firm The Richards Group, ad agency Optique International Eyewear. client Ad headline: Poor vision is no excuse for picking out an ugly pair of glasses.

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1 (series) Dominique Malaterre, Tilt Inc., photographer Louise Marois, designer Lumbago, design firm Eclectic Hair Atelier, client Magazine ads.

BOOKS

2 (series) Kent Barker, photographer Brian Nadurak, designer Karin Pritikin, writer Krause Nadurak Eickmeyer, design firm Chronicle Books, client

The King & I, a little gallery of Elvis impersonators.

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1 Fred Woodward, photographer Patti O'Brien. fashion director Jim Wageman. designer Stewart, Tabori & Chang, publisher Arts Counsel , client Interior photograph from The Color of Fashion.

2 Pete McArthur, photographer Stephen Doyle. art director/designer Drenttel Doyle Partners, design firm Harper Collins. client Book cover for math study guide Finite Mathematics.

3 Jon Fisher, photographer Jennifer Barry, designer Peter C. Jones, picture editor CollinsPublishers San Francisco. client Interior photograph from Black & White Dogs.

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BOOKS

1 (series) Jeff Sedlik, photographer Bonnie Smetts. designer Lee Tanner, photo editor Pomegranate Artbooks, publ isher Book cover and interior from Dizzy: John Birks Gillespie in his 15th Year. These photographs, from Dizzy's last photo session. were also featured in Jazziz magazine .

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1 (series) Howard Schatz, photographer Howard Schatz/Bonnie Smetts, designers Pomegranate Artbooks, publisher Interior photographs from Seeing Red: The Rapture of Redheads.

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1 (series) Joel Grimes, photographer/ art director Nancy V. Rice, designer Wilson/Johnson Creative, Inc .. design firm Westcliffe Publishers, Inc .. client Photographs from Navajo: Portrait of a Nation.

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1 Geof Kern, photographer Deborah Needleman, photo editor Richard Baker, designer Washington Post Magazine. client Professor Glenn Pfau instructs students on exactly what it takes to be a successful executive today. Thin soles and analog watches required, "Executive Grooming 101 ."

2 Scott Sharpe, photographer The News & Observer, client Newspaper article on the people and conditions in Haiti, "The Haiti You'll Never See ."

3 Nicholas DeVore Ill, Photographers/Aspen. photographer Bert Fox, art director/designer Philadelphia Inquirer Magazine, client Sunday newspaper magazine article excerpt from Flesh & Blood: Photographers ' Images of Their Own Families. published by Picture Project.

4 David G. Toerge, photographer West County Times. client Stand alone feature . A worker for The Cirque de Soleil climbs a rope after washing down the tent.

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1 (series) Robert Holland, photographer Erin Kenney Becker, art director/designer Motorboating & Sailing , client Magazine article, "The Agony of Andrew," illustrated the impact Hurricane Andrew had on the coastal Miami community.

2 Ke ri Pickett photographer Nancy Jo Johnson. photo researcher Life . client Photograph of the Blakeys, a Minneapolis family, illustrating a collector's edition magazine section , "The American Fam ily, There is No Normal. "

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1 Max-Aguillera Hellweg, photographer David Armario, art director David Armario/Cathleen Munisteri. designers Discover. client

Magazine article. "A Reasonable Sleep." Evolution suggests that if we sleep with our babies, we might help some of them escape sudden infant death syndrome .

2 (series) Raymond Meeks. photographer Matthew Drace. art director/designer Men 's Journal, Straight Arrow Publishing, client Magazine photo essay, "Victory, " the Northern Cheyenne tribal celebration for newly elected Senator Ben Nighthorse Campbell.

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Chriss Wade, photographer Victoria Seebeck, art director Doug Renfro, designer Whittle Communications, Special Report, client Photo essay of human osculation, "Kisses Tell. " Portrait of transvestite Michael/Michelle.

2 Geoffrey Clifford, photographer Kate Patterson, director of photography The Army Times Publishing Company, client Jungle training school in Panama .

3 David Burnett, Contact Press Images, photographer Michael Rand, art director London Sunday Times Magazine, client A young Navajo girl awaits customers at Monument Valley, Utah, "Shooting the Neutron Breeze ."

4 Gianni Giansanti , photographer Time, client A starving Somali baby tries to get milk from his mother's shriveled breast, "Landscape of Death ."

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1 (series) Bob Krist, photographer Lou Dilorenzo, art director Bill Black, director of photography Travel Holiday, cl ient Views of the tea terraces on a plantation in Malaysia.

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1 Mary Ellen Mark. photographer Nancy Duckworth. art director Lisa Thackaberry, photo editor Los Angeles Times Magazine. client

In the flash of a luckless encounter, a sheltered Eagle Scout became both victim and killer in a chillingly brutal crime . Newspaper article, "The Good Boy." 2 (series) Bob Sacha, photographer Suzanne Morin. art director Peter Howe, director of photography Michael Robbins, editor Audubon, client Magazine article, "Alaska's Bloody Derby." A 24-hour season for Pacific Halibut. the Derby is a grotesque creation of modern fisheries policy that often threatens the lives of men and women who must fit a half-year's fishing into a single day.

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1 (series) Jiashu Xu. photographer Nelphen Yung, art director/designer Catherine Whitfield, photo editor Emphasis (HK) Ltd ., design firm Mandarin Oriental Hotel Group, client

Hotel magazine Mandarin Oriental. Meditative moments among the Tibetans of Gansu Province. ·

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Steve Payne, photographer Michael Gregg, art director The Globe and Mail, client Book review of Looking Around, A Journey Through Architecture.

2 Nadav Kander, photographer/art director Conde Nast Traveler, client Photograph of a hydro power plant in Iceland, "Blue Lagoon ."

3 Heidi Kirsten Wells, photographer/art director The New England Journal of Public Policy, client Photograph to illustrate the human element of homelessness and raise both money and awareness.

4 Tim Peters, photographer Micca Hutchins, art director/designer Sailing , client Photo used as a double-page spread to highlight magazine selections of the best marine photography.

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EDITORIAL

1 (series) Mark Seliger, photographer Fred Woodward, art director Gail Anderson/Debra Bishop/Catherine Gilmore-Barnes/Angela Skouras/Geraldine Hessler, designers Laurie Kratochvil, photography editor Rolling Stone, client Portraits of musicians Johnny Cash, Carlos Santana, Ringo Starr and Fleetwood Mac members Mick Fleetwood and John McVie for the magazine's 25th anniversary issue.

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EDITORIAL

1 (series) Dennis Marsico, photographer Lou Dilorenzo, art director Bill Black, director of photography Travel Holiday, client Places in the United States called Paradise.

2 David Burnett, photographer Rudy Hogland, art director Time, client Magazine article . Chinese woman diver, Fu Ming Xia, wins the gold at the Olympics in Barcelona, "The Win-Win Games ."

3 Bob Krist, photographer Bob Ciano, art director Hazel Hammond, photo editor Ila Stanger, editor Travel & Leisure, client Article about Wrynose Fell, a highland area in England's Lake District.

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1 (series) Mary Ellen Mark. photographer Fred Woodward, art director Gail Anderson. designer Laurie Kratochvil, photography editor Rolling Stone. client Magazine article, "The Prince of Wildwood."

Jack Brian searches the Jersey shore for love, girls and the future .

2 Danny Turner. photographer Alisann Marshall, designer Kyle Dreier, designer American Way, design American Airlines. client Portrait of Super Barrio Gomez, defender of the poor. An ex-wrestler, he is now a champion of the poor and homeless in Mexico City.

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1 (series) Dennis Carlyle Darling, photographer Alisann Marshall, art director Deb Miner. designer American Way, design American Airlines, client In-flight magazine article on the Twinsburg, Ohio, convention for twins.

2 Pete McArthur. photographer Giovanni Russo. art director Men's Journal. Straight Arrow, client Magazine article on Don Matao cigars.

3 Brian Smale. photographer Robert Priest, art director Karen Frank, photo editor Gentlemen's Quarterly, client Portrait of former Los Angeles gangster, T-Rogers. the original leader of the Bloods. "Original Gangster."

4 Jan Staller, photographer Lou Dilorenzo. art director Bill Black, director of photography Travel Holiday, client Night view of Niagara Falls.

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Christopher Springmann, photographer Susanne Rolf, art director/designer IAPC, International Associates Publishers & Consultants AB. contract publisher AGA AB. design/client An interview with venture capitalist, William Edwards, in lnnova, a magazine published for customers of AGA AB, an international industrial gas company.

2 (series) Sacha Hartgers. Focus/Matrix, photographer Bert Fox, art director/designer Philadelphia Inquirer. client .

Sunday newspaper magazine article, "Keeping Hate Alive." These German patriots are waving the flag of violence .

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1 (series) Alastair Thain, photographer Mary Dunn, photography director Doris Brautigan, picture editor Entertainment Weekly, client Cover story about actor Jack Nicholson, "King Leer."

2 Matt Mahurin, photographer Jane Palecek, art director/designer Health, client Article about pathological liars, "The Great Pretenders."

3 Farrell Grehan, photographer Alisann Marshall, art director Kyle Dreier, designer Doug Crichton, editor American Way, design American Airlines. client In-flight magazine article, "Traces of Paradise," showing a present day Caribbean that comes close to when Columbus put ashore in 1492.

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Amos Nachoum, photographer Janice Van Mechelen, art director Scuba Diving, client Magazine cover photograph without computer enhancement.

2 (series) Danny Turner, photographer D.J. Stout, art director/designer Texas Monthly, client Magazine article, "Hooray for Big Hair." From Farrah to Ann, Texas women have combed, curled, teased and touseled their way into the national consciousness.

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EDITORIAL

1 Edward Gajdel, photographer Mary Dunn, photography director Michele Romero, assistant picture editor Entertainment Weekly, client

Portrait of singer Leonard Cohen, "Seven Reasons Why Leonard Cohen is the Next Best Thing to God ."

2 (series) Dennis Marsico, photographer Lou Dilorenzo, art director Bill Black, director of photography Travel Holiday, client Article on winter in Tuscany, Italy.

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1 Robert Holmgren, photographer Dian-Aziza Ooka, art director Allyson Appen, designer Tripp Mikich, photo editor Parenting, client

Magazine article, "Are You Dad Enough?"

2 Robb Kendrick, photographer Kathy Moran, picture editor Tom Kennedy, director of photography Bill Graves, editor National Geographic, client The reincarnated Lama in Nepal, "Gatekeepers of the Himalayas."

3 Chris Shinn. photographer Donna Bonavita, designer KPMG Peat Marwick, design/client Portrait of a client used in a company magazine .

4 Richard Bickel, photographer Lou Dilorenzo, art director Bill Black, director of photography Travel Holiday, client Surfer from Salvador da Bahia, "Bahia Beat."

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Lonnie Duka, photographer From a Communication Arts profile of the photographer. showing his son Daniel.

2 Zbigniew Bzdak, photographer W. Allan Royce, art director Tom Kennedy, director of photography National Geographic. client Roaring through the earth's deepest canyon, risking their lives. a team of kayakers and rafters ride an adrenaline high down the seething fury of Peru's Colca River.

3 Mark Seliger. photographer Mark Ulriksen. art director San Francisco Focus, client Portrait of Bill Moyers.

4 Charles O'Rear. photographer David Arnold, illustration editor Bill Marr. designer National Geographic, client "Bacteria . Teaching Old Bugs New Tricks ." Aerial photo of salt ponds in San Francisco Bay illustrates colors created from bacteria .

4

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EDITORIAL

Pam Francis, photographer Audrey Satterwhite, art director The Houston Press, client "A Man for All Seasons." Weatherman Dr. Neil Frank, an expert on hurricanes, appeared on the cover of the weekly newspaper shortly after the disaster of hurricane Andrew.

2 Dan Winters, photographer Mary Dunn, photography director George Pitts, assistant picture editor Entertainment Weekly, client Portrait of singer Matthew Sweet. "Body Bits: Face in the Mirror."

FOR SALE

3 Ed Nielsen, photographer/art director/designer Christmas card .

4 William Lesch, Swanstock, photographer Verity Freeburn, art director Etherton Stern Gallery, client Poster.

2

84

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 3

3

4

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FOR SALE

1 (series) Robb Kendrick, photographer Butera's Restaurant. client Prints for a restaurant display and for sale.

86

P H 0 T 0 G R A P H Y

A N N U A L

l 9 9 3

C 0 M M U N I C A T I 0 N

A R T S

87

88

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 3

FOR SALE

1 (series) Vic Huber, photographer/art director Tim Meraz, designer Tim Meraz Design, design firm Alfa Romeo of North America , client The 1993 calendar printed by Dot Printer.

COMM U NICATIO

ARTS

89

2

90

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 3

3

FOR SALE

1 Burt Jones/Maurine Shimlock. photographers Michael Bowmer. art director The Art Group, Ltd ., design firm The Art Group Nature Collection. client Secret sea visions poster of anemone in the Red Sea .

2 Felix Rigau, photographer Trees and fog in San Francisco . Part of a project on designs in nature. sold as fine art.

INSTITUTIONAL

3 Chris Shinn. photographer Lana Rigsby, designer Rigsby Design, lnc ..design firm Serv-Tech. client

Portrait of a worker used on the cover of a facilities brochure.

4 Thomas Heinser. photographer Thomas Heinser/Madeleine Corson, art directors Madeleine Corson Design, design firm Advertising Photographers of America. client Auction poster for a Big Brothers/Big Sisters benefit at the San Francisco Museum of Fine Art.

4

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INSTITUTION AL

1 Scott C. Schulman, photographer Chip Kidd, art director/designer Alfred A. Knopf, Inc., publisher

Borzoi Books spring catalog cover.

2 Vernon Doucette, photographer Russ Chapman, art director Envision, design firm Eastern Utilities, Inc., client Corporate slide.

3 (series) Marc Hauser, photographer Gene Silverberg, Bigsby & Kruthers, art director Jeff Nichols, designer McDonald Davis & Associates, ad agency Bigsby & Kruthers, client Booklet showing notable Chicago personalities wearing the store's designer clothes: Lesley Visser, Michael Jordan and Phil Jackson.

2

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NUAL

1993

3

C 0 M M U N I C A T I 0 N

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2

94

P H 0 T 0 G R A P H Y

A

UAL

1993

3

INSTITUTION AL

Steve Niedorf, photographer Art Penfield, art director/designer Mona Meyer, McGrath & Gavin, public relations agency Bureau of Engraving, client Capabilities brochure photo.

2 Christopher Caffee, Photo Synthesis, Inc., photographer Cliff Rowe/Diane Rowe, art directors Dennis Moran, designer Dennis Moran Design, design firm P.J. Dick lnc./Trumbull Corporation, clients

Impressions of construction at the Pittsburgh airport for a capabilities brochure.

3 (series) Bob Carey, photographer Jami Pomponi, art director Companion Animal Association of Arizona, Inc., client A series of photographs promoting the use of animals as companions to the elderly.

C 0 M M U

I C A T I 0 N

A R T S

95

96

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 3

INSTITUTION AL

1 (series) Abhijit Varde, photographer/art director Ken Light, picture editor Campaign for Human Rights, client Fund-raising slide presentation showing children, education, caste system and landless peasantry in rural areas of the state of Maharashtra, India .

C 0 M M U

I C A T I 0 N

A R T S

97

98

P H 0 T 0 G R A P H Y

A N N U A L

l 9 9 3

2

INSTITUTION AL

1 (series) Gary Nolton, photographer Janice Gega , designer Nike Design, design Nike, client Basketball brochure.

2 Kathryn Kleinman , photographer Jennifer Morla, art director Jennifer Morla/Sharrie Brooks, designers Sara Slavin, stylist Morla Design, design firm American President Lines, client Corporate calendar page.

3 Ralph Daniel , photographer Jerome Smith, art director J. Walter Thompson, ad agency Captain Mark Everson, United States Marine Corps, client Brochure photograph .

3

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INSTITUTIONAL

1 (series) Joanne Dugan, photographer Michael Bierut, designer Pentagram Design, design firm Historic Hudson Valley, client Annual report showing historic homes. Pictured are Washington Irving House (Sunnyside) and two views of Montgomery Place .

2 Stewart Charles Cohen, photographer Bob Johnson, art director Club Corporation of America, client Brochure .

] 00

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 3

2

C 0 M M U N I C A T I 0 N

A R T S

JO]

102

P H 0 T 0 G R A P H Y

A N N U A L

19 9 3

2

INSTITUTIONAL

1 (series) Marc Norberg, photographer Frank James, designer Nancekivell Design, design firm The St. Paul Companies. client Annual report.

2 Chris Hamilton, photographer Suzy Miller, designer Copeland Hirthler Design & Communication, design firm Atlanta Paralympic Organizing Committee, client Marketing brochure for "The Glory of the Games, " the 1996 Atlanta Paralympic Games.

3

3

Nadav Kander, photographer John Doyle, art director Doyle Advertising & Design Group, ad agency Amnesty International , cl ient Portrait of Fatima Ibrahim, a writer, speaker and union leader for Sudanese women's rights .

C 0 M M U N I C A T I 0 N

A R T S

103

2

] 04

P H 0 T 0 G R A P H Y

A N N U A L

l 9 9 3

3

INSTITUTION AL

Terry Husebye, photographer Steve Powell, art director Smart Creative Services, ad agency Pacific Bell, client Kern County fair midway in Bakersfield, California. for PacBell Yellow Pages cover.

2 Russ Schleipman, photographer Don Ferber. art director/designer Ferber Design, design firm Raytheon. client

Photograph, for an annual report. to suggest the use of avionics and missles by the military.

3 (series) Mark Klett, Swanstock, photographer Mary Johnson/Nancy Solomon, designers Amon Carter Museum, curator "Revealing Territory," photographs of the Southwest.

"Entering a Narrow Cave," used as the cover for the exhibition catalog at the Museum of Contemporary Photography, Columbia College, Chicago .

"Under the Dark Cloth," used as the cover for the exhibition catalog at the Center for Creative Photography, Tucson, Arizona.

C 0 M M U N I C A T I 0 N

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105

INSTITUTIONAL

Thomas Heinser, photographer Madeleine Corson, art director Madeleine Corson Design, design firm Jantz Design, client Catalog cover for "The Natural Bedroom."

2 Ian Lawrence. photographer Randolph & Tate Associates, art consultants Haines. Lundberg & Waehler. architects Federal Reserve Bank of New York, client Mural produced using the Cinescan technique.

3 (series) David X. Tejada, photographer Mark Mock, art director Tim Kridle, designer Mark Mock Design Associates, design firm Consolidated Nevada Goldfields Corp., client Annual report.

2

] 06

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 3

3

C 0 M M U N I C A T I 0 N

A R T S

J 07

] 08

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 3

INSTITUTION AL

1 (series) Gary Faye, photographer Lana Rigsby, art director/designer Rigsby Design, Inc., design firm The Earth Technology Corporation, client Photo essay in a capabilities brochure.

COMMUNICATIO

ARTS

109

INSTITUTION AL

1 (series) Peter Gregoire, photographer Sandra Ray, art director/designer Dow Jones Marketing Services. design Dow Jones, client Photo illustrations for a market survey of aviation managers and chief pilots.

SELF-PROMOTION

2 Dennis Miller. photographer/designer/client Mailer.

110

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A N N U A L

I 9 9 3

2

COMMUNICATIO

ARTS

]Jl

SELF-PROMOTION

•••••••••••••••••••••••••••••• ,

1 Allison Leach. photographer Paul Kwong, art director Hill/A Marketing Design Group, design firm Southwest Texas State University/Creative Summit '92. clients Poster. Photographer's brief was to interpret a birthday suit.

Vernon Sherman. Insurance Salesman, Wharton. Texas. wore his best suit being reborn . Regrets it. Should have worn his drip-dry.

2 Joe Michl, Parallel Productions. photographer/art director/client Studio promotion piece .

3 Jay Maisel. photographer/art director Dave Delmonico, designer Ice Communications. ad agency Kodak. client Poster. Eastman Kodak presents "Jay Maisel : Light, Gesture and Color."

4 Ralph Daniel. photographer Ed Young, designer Young & Martin Design, design firm Ralph Daniel Photography, Inc., client Poster.

2

112

PH 0 T 0 GR A P H Y

I

•• •••••••••••••••••••••••••••••

A

UAL

1993

<-\

••

•

....... . . .

3

4

COMMUNICATION

ARTS

113

114

P H 0 T 0 G R A P H Y

A N N U A L

19 9 3

2

SELF-PROMOTION

1 (series) Paul Sinkler, photographer/art director/ client Direct mail.

2 Jim Erickson, photographer/art director Erickson Productions, client Source book ad.

3 Pete Turner, photographer/art director Source book ad .

3

C 0 MM UN IC AT I 0 N

ARTS

115

SELF-PROMOTION

1 Robb Kendrick, photographer/art director/client Mailer.

2 Patrick Harbron, photographer/art director Christmas card .

3 (series) Peter Eckert, photographer/art director Mailers.

2

116

PHOTOGRAPHY

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NUAL

1993

3

C 0 MM UN IC AT I 0 N

ARTS

117

118

PHOTOGRAPHY

ANNUAL

1993

2

SELF-PROMOTION

1 (series) Gill Aikin, photographer/art director David Shelly, designer Gill Aikin Photography, client

2 Don Glentzer. photographer Jay Loucks/Don Glentzer. art directors Jay Loucks, designer Loucks Atelier. design firm Glentzer Photography, client Poster announcing "The Missions," a photography exhibit at Galeria Las Vigas in El Paso, Texas.

3 Jim Scherer. photographer Miya Ohshima Slater, art director Gunn Associates, design firm Kanzaki Paper. client Photograph from a brochure to show the printing capabilities of Preeminence gloss cover 95 lb.

3

C 0 MM U N IC AT I 0 N

A RT S

119

UNPUBLISHED

1 (series) Flip Chalfant. photographer © 1993 Flip Chalfant

2 David Shafer, photographer © 1993 David Shafer

120

PH 0 T 0 G R A P H Y

A N N U AL

19 9 3

2

C 0 M M U N I C A T I 0 N

A R T S

121

122

PH 0 T 0 GRAPH Y

ANNUAL

19 9 3

UNPUBLISHED

1 (series) Andrew Garn, photographer Self-assigned series of architectural studies printed on gold-toned paper. © 1993 Andrew Garn

C 0 M M U N I C A T I 0 N

A R T S

123

UNPUBLISHED

1 (series) Melanie Eve Barocas, photographer Ron Anderson, art director

Never used stills. commissioned by the November Group to re-elect President Bush . © 1993 Melanie Eve Barocas

2 Joe Baraban, photographer Bill Kauker, art director Microsoft performance photograph. © 1993 Joe Baraban

124

P H 0 T 0 G R A P H Y

A

UAL

1993

2

C 0 M M U N I C A T I 0 N

A R T S

125

126

P H 0 T 0 G R A P H Y

A N N U A L

19 9 3

2

UNPUBLISHED

1 (series) Kent Barker, photographer Fine art images from a two-month sabbatical on the Swedish island of Marstrand.

2 Peter Eckert. photographer © 1993 Peter Eckert

3 Cheryl Klauss. photographer © 1993 Cheryl Klauss

3

C 0 M M U N I C A T I 0 N

A R T S

127

128

P H 0 T 0 G R A P H Y

A N N U A L

l 9 9 3

UNPUBLISHED

1 (series) William Mercer Mcleod, photographer Photographs of the photographer's daughter, Ava Ray. © 1993 William Mercer Mcleod

COMMU

ICATIO

ARTS

129

130

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 3

UNPUBLISHED

1 (series) Dave Stoecklein, photographer/art director Stoecklein Publishing, client Photographs for a future book. © 1993 Dave Stoecklein

2 Clem Spalding, photographer/art director © 1993 Clem Spalding

2

C 0 M M U N I C A T I 0 N

A R T S

131

2

132

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 3

3

UNPUBLISHED

Jeffrey Aaronson, photographer © 1993 Jeffrey Aaronson

2 William Thompson, photographer © 1993 William Thompson

3 (series) Cristiana Ceppas, photographer © 1993 Cristiana Ceppas

C 0 MM U NI CAT I 0 N

ARTS

133

UNPUBLISHED

Nicola Kountoupes. photographer © 1993 Nicola Kountoupes

2 James Dickens, photographer © 1993 James Dickens

3 Daniel Desouza. photographer © 1993 Daniel Desouza

2

134

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 3

3

C 0 M M U N I C A T I 0 N

A R T S

135

UNPUBLISHED

1 Ron Baxter Smith, photographer Todd Richards, art director © 1993 Ron Baxter Smith

2 Ron Lowery, photographer/art director Gerhard Borchers. assistant art director © 1993 Ron Lowery

3 Karen I. Hirsch, photographer/art director Photographer Arno ld Newman. © 1993 Karen I. Hirsch

4 Bill Geddes. photographer/art director © 1993 Bi ll Geddes

2

136

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A N N U A L

I 9 9 3

3

4

C 0 M M U N I C A T I 0 N

A R T S

137

UNPUBLISHED

1 Michael O'Brien, photographer Rick McOuiston, art director One from a series of photographs shot for a Wieden & Kennedy Oregon Tourism campaign, never used. © 1993 Michael O'Brien

2 (series) Bryan Mar, photographer/art director © 1993 Bryan Mar

2

138

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C 0 M M U N I C A T I 0 N

A R T S

139

140

P H 0 T 0 G R A P H Y

A N N U A L

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2

UNPUBLISHED

1 Stuart N. Dee, photographer/art director © 1993 Stuart N. Dee

2 (series) Daniel Peebles, Swanstock, photographer © 1993 Daniel Peebles. Swanstock

C 0 M M U N I C A T I 0 N

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UNPUBLISHED

Harry Giglio, photographer/art director © 1993 Harry Gigl io

2 Robb Kendrick, photographer Kathy Moran, picture editor Mt. Everest in the Himalayan mountain range for National Geographic. Tom Kennedy, director of photography; Bill Graves, editor. © 1993 Robb Kendrick

3 Glen Wexler, photographer Jazz pianist Herbie Hancock. © 1993 Glen Wexler

2

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3

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UNPUBLISHED

1 Michael Schneps, photographer Adrianne Hurndell. art director Future book on cross dressers. © 1993 Michael Schneps

2 Stephen Kennedy, photographer Entrance gate to the Breese, Illinois, Avon Drive-in. © 1993 Stephen Kennedy

3 (series) Allan Hunter Shoemake, photographer Jim Redzinak, designer Work in progress on a portrait book of Special Olympics athletes. Red Flannel Design Group, design firm; Chubb & Son Inc., client. © 1993 Allan Hunter Shoemake

2

J44

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3

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145

UNPUBLISHED

1 Bob Stevens, photographer/art director Robert Stevens Productions, client © 1993 Bob Stevens

2 Alan Ross, photographer/art director © 1993 Alan Ross

2

146

P H 0 T 0 G R A P H Y

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N U A L

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It

was

an

ordinary Monday morning at The Stock Market.

Suddenly the elevator

doors parted and four

adult kangaroos bounded

into the lobby.

The receptionist asked with whom they had an appointment, but

they ignored her and hopped down the hallway.

paused before a large bookcase.

The four marauding marsupials

A photo researcher asked if they needed help .

A moment later they began gleefully stuffing book after book into their

warm, roomy pouches.

they came.

who

Then they left as mysteriously as

Evidently,

appreciate

The

humans aren't the only ones

Stock

Market's

new

catalog.

THE STOCK MARKET PHOTO AGENCY• 360 PARK AVE. SOUTH, NY, NY 10010 •FOR OUR FREE NEW CATALOG, CAll 1·800·999·0800

THE IMAGE BANK, TIB and TIB THE IMAGE BANK are trademarks of The Image Bank, Inc. Dallas, TX ©1992 THE IMAGE BANK, INC. All Rights Reserved.

Photographic elements by Alfred Gescheidt and Louis Ja\Wz.

Global Visionaries~M

EDITOR'S

COLUMN

PATRICK COYNE

WERE ALL PLEASED TO SEE THAT THE umber of entries for the 1993 Photography Annual was up from last year. While the ncrease is only 2% (5,944 compared to 5,826 in 1992), any increase is welcome in this economy.

W

Looking through the Annual, you'll see a broad variety of ideas and executions. It's obvious that commercial photography is being affected by a widening range of influences including fine art and other creative disciplines as well as new technology.

While we registered declines in selected entries for the SelfPromotion and For Sale categories, the Advertising and Unpublished categories made an impressive rebound from last year's numbers.

Although the content changes year to year, the jurying process remains the same. We began this year's competition on Sunday, April 18 at 9 a.m. in front of two large conference rooms at Hyatt Rickeys in Palo Alto. Each conference room was equipped with a projector for slides and five rows of tables for tearsheets, proofs and large transparencies.

On the first day we screened the entries by working in two teams of three (I acted as the sixth judge during screening).

Every category had been split by our crew in advance so each screening team viewed half of the entries. We asked the jury to be liberal during screening and to place anything in the finals they thought deserved a second look. Any judge could place a printed piece into the finals by picking up the entry from one of the tables and handing it to one of our crew. Slide submissions were viewed in carousels on a large screen and required "in" votes on preprinted scoring sheets by at least two jurors to make it into finals . Efforts were made to keep entries by the same photographer from appearing in sequence.

The final voting began mid-morning on Monday. Print entries were spread out on the tables and two paper cups, one white for "in," the other red for "out," with slots cut in the bottom, were placed to the right of each piece. Jurors voted by putting a different colored tile in the appropriate cup. The different colors allowed us to make sure each judge voted on every entry. Finalists submitted on slides were voted on by every judge using preprinted scoring sheets similar to screening.

The final voting was finished late Monday afternoon.

Three or more votes put an entry into the Annual. These accepted entries were treated as equals in the design of the issue. Decisions on size and placement were based on reproduction evaluations, pacing and the need to control press channels and ink usage for web printing.

I would like to thank our jurors for their valuable time and conscientious efforts in making the selections for the 34th Annual Exhibition.

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1 993

HENRY BRIMMER came to the United States from Mexico to

study agriculture at the University of California at Davis, in 1964, but filmmaking and photography diverted his attention from grain crops and cattle. For the next ten years he traveled through Europe, Africa, the Middle East and Asia. By some fluke he landed in Ulm, where he got involved with designers from the Fachhochschule fur Gestaltung (the New Bauhaus).

He studied graphic design in Zurich and Essen and returned to the U.S. in 1978. Since then he has established his own design studio in San Francisco, has taught design at various institutions throughout the Bay Area and in 1982 launched Photo Metro magazine, a photography tabloid.

LAURIE KRATOCHVIL first joined Rolling Stone as photog-

raphy editor in 1978 after working at the Los Angeles Times and A&M Records. In 1980, she became photography editor of New West magazine and returned to New York and Rolling Stone in 1982. Under her direction, Rolling Stone has been nominated three times for the National Magazine A wards for photography and, in 1988, won this honor. In 1989, Rolling Stone: The Photographs, a twenty-year retrospective book that she produced and edited, appeared on the New York Times best seller list. That same year she was named director of photography, the title she currently holds.

LEON ARD G. PHILLIPS is a free-lance book designer and photographer in Charlottesville, Virginia. He was previously art director and photo editor for Thomasson-Grant, Inc. , publisher of Odyssey: The Art of Photography at National Geographic and the American Society of Media Photographer's retrospective 10,000 Eyes. Current projects include book design for the National Geographic Society, magazine photography and photography for a book on apple pomology. He received a BFA with honors from James Madison University.

LANA RIGSBY is the principal of Rigsby Design, Inc. Based

in Houston, the company specializes in corporate communications and identity development. Her work has been consistently recognized in major design competitions throughout the United States and includes numerous annual reports and projects that have been singled out for photographic excellence.

Ms. Rigsby is a founding member and past officer of AIGA/ Texas. Prior to establishing her firm , she was a principal at Lowell Williams Design for nearly ten years.

JEFF TERWILLIGER is a senior art director at Carmichael Lynch, a Minneapolis-based advertising agency. Over the past four years he has worked on Rollerblade, Polaris , Blue Fox fishing tackle, Minnesota office of tourism and the Minnesota State Lottery. Work on these accounts has led to awards from The One Show, the New York Art Directors Club, the Andys and Communication Arts, in addition to being a three-time Stephen Kelly finali st. Terwilliger studied visual communication at both the University of Wyoming and the Minneapolis College of Art and Design.

Phillips

Kratochvil

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ICATION

ARTS

153

CONTRIBUTORS COLUMNS

BOOK

REVIEWS

JEFF SEAVER is a free-lance illustrator

NORMAN GREY is from New York

BYRON FERRIS worked as a creative

living and working in New York City.

A past president of the National Graphic Artists Guild, he wrote the Design Issues column. DK Holland, who worked with Jeff at the Guild in the early 1980s, is the column editor.

City. After four years in graphic design, he realized he'd rather do ads and TV so he took a copywriting course which led to a job at The Marschalk Company. Four years later he became a creative director and has been writing and art directing ever since. He worked at McCann, his own agency which Bozell acquired, then BBDO and J. Walter Thompson, where he is now SVP/Group creative director. He's also the director of the Portfolio Center in New York. He wrote this issue's Advertising column , edited by Tom Monahan.

director at Mccann-Erickson, as a partner in his own advertising agency and as head of Design Council studio.

He helped found the American Advertising Museum in Portland, Oregon, where he erved as director of archival collections. Mr. Ferri reviews books in every issue of CA.

LISA SPIEGELMAN has seen literally

thousands of press releases, new products and trade shows during her seven years of experience writing about computer technology. She is currently senior editor for Computer Reseller News , a weekly national computer business magazine that provides technology news and analysis.

Lisa has a B.S. degree in journalism from the University of Oregon. She has written the Technology Reviews column for CA ince July 1990.

MICHAL HERON & DAYID MACTAVISH

are co-authors of Pricing Photography (Allworth Press) which is excerpted in this is ue's Legal Affairs column. Both Heron, who is based in New York, and MacTavish, who works in the Chicago area, are successful free-lance photographers actively involved in assignment and stock photography. In addition , Heron i the author of How to Shoot Stock Photos That Sell, Stock Photo Forms, and The Photographer' s Organizer.

BARBARA GORDON, an artist and pho-

tographer representative since 1969, is a past president of the Society of Photographers and Artists Representatives and member of the Society of Illustrators and the Graphic Artists Guild. She is also the author of two books, How to Sell Your Photographs and Illustrations (Allworth Press) and Careers and Opportunities in the Graphic Arts Field (National Textbook Co.). Ms. Gordon has been a guest speaker and seminar participant at many professional organizations and colleges.

She heads her own firm, Barbara Gordon Associates, based in New York City. She has written on free-lance issues for CA since 1982.

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U AL

MARIA PISCOPO is a creative services consultant based in Southern California.

She teaches the business side of graphics and free-lance success strategies classes for Dynamic Graphic Educational Foundation and is starting on her next marketing book for designers.

In this issue Maria discusses the buying and selling of digital images.

RICHARD KOMAN is a San Francisco-

based free-lance writer and editor specializing in graphic design, publishing and multimedia technology. Richard is the editor of OnLine Design, a California monthly covering electronic design and graphics. He wrote the Technology Resources column and profiled several photographers who use CD-ROM and multimedia for the Technology feature this issue.

WENDY RICHMOND is co-director of

the WGBH Design Lab in Boston. She works with a team to develop design guidelines and produce computer-based multimedia projects. Ms. Richmond started designing with and for computers in 1978 as a graduate student at MIT and was a participant in the formation of Bitstream and Lightspeed Computers. Author of Design & Technology : Erasing the Boundaries, she has written for CA since 1984.

1 993

EDWARD BIGELOW i a professional

photographer and writer who has been based in Northern California for almost 30 years. His work has appeared in numerous photography exhibitions , books and magazines, and he has published articles on di verse and esoteric ubjects. Bigelow now specializes in digital imaging and works as an independent computer consultant. He has been exploring the "benefits" of Windows in the PC environment since version 1.0, and puts that experience to use as a book reviewer in our Technology Resources column.

ANGEL YNN GRANT majored in mathematics at Harvard, worked on a Ph.D. in topology at Brown and received an MFA in graphic design from Yale. The Boston-based free-lance de igner and educator is also a jazz di c jockey on WHRB , Harvard radio. She wears another hat as a book reviewer in this issue.

SAM McMILLAN is a San Franciscobased free-lance writer. His Retirement Planning Kit software for T. Rowe Price Mutual Funds has sold over 60,000 copies and wa cited as "easiest to use" by The Wall Street Journal.

CYNTHIA VERDOW has a B.S. in soft-

ware engineering. She recently opened her own electronic prepress firm concentrating on catalogs and books and she is in the process of re earching and writing two computer-related books.

Cynthia began reviewing books on computer related topics for CA last year.

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Technology

PHOTOGRAPHY - BASED MULTIMEDIA BY

RICHARD

ITH ALL THE HYPE ABOUT CD-ROM and multimedia, it's tempting to pass it off as a high-rent Nintendo, just another attempt by the computer industry to convince consumers to part with their dollars. In fact CDbased multimedia is proving to be a potent medium for artists, corporations and publishers, as well as video game manufacturers. One art form well-suited to this computer medium is photography.

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work on disc. Published in 1991 by the Voyager Company , Santa Monica, California, I Photograph to Remember is a narrative work combining some 100 black-and-white photographs with a spoken narrative (in English and Spanish) by Meyer. In a voice sometimes halting, always warm and conversational, Meyer tells the story of his parents' bouts with cancer and his reactions to the events.

As the photographs advance, one has the feeling of turning the pages of a photo album as a friend opens his heart.

Because compact discs hold lots of data, they have been a natural for the stock photography industry. Thirty or more high-resolution images can be stored on one CD. But high-resolution is only required when the image is going to be printed in some way. Low-resolution images are fine for computer display , which leaves plenty of room for voice, music, digital video and animation, as well as photography. So photographers-working with multimedia development firms-are starting to create complete works in CD-ROM, often auxiliary products to hard-cover photography books.

In fact, that's how it happened, says Thomas Luehrsen , who produced the disc for Voyager. "We were in Pedro 's living room and he was showing me the prints one at a time," he recalls. "I had a DAT (digital audio tape) recorder with me to use as a scratch recording, but it was so good that we used most of it in the final product. I really worked to retain that feel throughout the project." Luehrsen, whose own mother had died of cancer when he was seventeenyears-old, says, "I knew exactly how he felt. It's such an inevitable thing for everybody. The project's virtue is its simplicity in content and in execution."

Should photographers be worried or excited about the new technology? To Flora Perskie, president of Imergy , a New York-based multimedia developer, the answer is obvious: "For photographers this means more opportunities to show their work. I know that a number of publishers who had pure text products are now looking to incorporate photographs." She cites the case of a reference publisher who bundled a CD with a book and saw sales shoot up 30%.

What compelled him to photograph his dying parents? "The title says it all," Meyer says. "Poe said, 'The only way to kill death is through photography. ' As a photographer who has entered a lot of other people's lives through my camera, I felt that if I could not capture the images in my own world, I didn ' t have the right to do it in other people's worlds. "

Imergy is developing a CD called Wide Open, based on the Open magazine publishing project. Jointly sponsored

by Apple Computer, Kodak and Sony Electronic Publishing, the CD features photography , magazine articles and digital videos that tell the story of the making of the magazine. "Multimedia is not going to replace the book, but it is a more enriching experience because all the different senses are being used at one time," Perskie says.

"I come from print communications and I think this is a wonderful way of showing images, a very impactful way of communciation."

Three photographers who have made the transition to multimedia are noted Latin American photographer Pedro Meyer, Time photojournalist P.F. Bentley and former Time and National Geographic photographer Rick Smolan.

I Photograph to Remember I Photograph to Remember, Pedro Meyer's album of the last years of his parents' lives , was the first CD to present photography in the digital medium. As such, it has inspired photographers like Rick Smolan to put their J60

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A dominant motif in these images is hands. Meyer 's mother's hands emerge from the frame of one photo as she holds her husband ' s hand, from another as she gives him his medication. Meyer's hand lays wanly at the bottom of the frame as his father's one hand grips so hard you can see veins bulging. The long fingers of his other hand push against the photographer's fingertips. Then there 's the fragile structure of his mother's arms reaching out to her husband, the diagonal arm showing the old man 's inner strength as he lies in bed. Often there are no faces in these photos- just hands and arms and torsos and a sense of passion. [ c o N T I N u E o o N P A o E 1 6 4 ] Right: Photographs from Pedro Meyer's I Photograph to Remember, showing his parents, Liesel and Ernesto Meyer. Us ing his computer and CD-ROM technology, Meyer created a poignant documentary of his parents ' bouts with cancer, and the family's unity. The project was produced by Thomas Luehrsen and published by the Voyager Company.

For CA, Meyer scanned the images from his original negatives, and printed them via a digital thermal dye printer, after fine-tuning them on his computer. "All of this as I don't have a darkroom anymore (click!),'' he wrote on an accompanying note. "Given that we 're on ly dealing with the first generation of such color printers, imagine what will be ten years from now."

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"I didn't seek out images of hands," Meyer says. "I noticed that once I had all the images. Why did that happen? I guess because there was a lot of tactile interaction going on and touching as an expression of caring. The very closeness of the family is expressed through hands touching and interacting throughout our lives."

Remarkable though these photos and Meyer's narration are, why should they be on a CD? Isn't this narrative more suited to film or video? "Video doesn't have the quality in sound or image. CD-ROM is a substantial improvement," Meyer says. "It's also different than video. You can slow down, stop, go back. And the narrative quality would be lost in a book; that combination of sound and image makes it quite a different experience. I like the fact that we weren't doing a book. It goes beyond a book."

In fact, the work did air as a video on KCET, public television in Los Angeles. "It was well received," Meyer says.

"Of course, the people who saw it on TV didn't have the chance to compare it with the CD." This disc is also something of a technical achievement, both Meyer and Luehrsen note. "This is wall to wall sound and images," Meyer says. "The biggest problem was getting three channels-stereo sound plus images-when the laser beam only gives you two channels." Luehrsen wound up rewriting the program to trigger image changes from the CD. "As the CD spun, when it got to a certain point, it would trigger the next image," Luehrsen explains.

Because of this very tight construction, the entire work had to be reprogrammed for the Spanish track.

Meyer is currently working with Voyager on another disc in conjunction with his exhibition, "Documentary Fictions: Digital Truths."

The exhibit consists of 90 Iris prints of Meyer's digital files. "I have worked on images in the United States and on images in Mexico. There is a separate body of work on each country and I make statements about the countries through these images." The disc, which will be installed on computers set up at the museum, contains twenty of these images as well as a narrative from Meyer.

"I go into the details of why I did them the way I did. So it's not a how-to but a why-to, why I felt the need to use digital technology to create the images the way I did. Plus, I wrote to 150 friends in different disciplines and asked them what they thought about the digital revolution and what they thought about the representation of reality. And their opinions are on the disc. Everybody is in a different part of the process with different levels of awareness. So it creates a time capsule of what my friends thought at this time in history."

The exhibit opens a worldwide tour October 9 at the Museum of Photography in Riverside, California.

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Alice to Ocean Easily the best known book on CD is From Alice to Ocean by photographer Rick Smolan. Published by AddisonW esley, From Alice to Ocean is a gorgeous $50 coffee table book detailing the journey of a young woman, Robyn Davidson, across the Australian outback. Davidson made the trip in 1977 and Smolan photographed it for a National Geographic article. The book contains many more photos than were printed in the Geographic and about half of the text of Tracks, Davidson 's own book on her epic journey.

One interesting facet to this work is Davidson's internal conflicts about having her trip and the Aborigines photographed. Early in the book she calls Smolan a "bloodsucking little creep;" by the end they are "the closest of friends." She takes pains to debunk the myth of photography as an objective record, saying that these photographs are more representative of Smolan's trip than of hers.

The book comes bundled with two CDs: A Mac formatted CD-which also contains about 40 minutes of spoken narration and can be played on an audio CD player-and a PhotoCD, in Kodak's proprietary format. Using a PhotoCD player, the disc can be viewed on either a TV or a computer monitor. While the Macintosh disc yields "dithered" photos, the images on the PhotoCD disc are "incredible," according to Smolan.

The project started a year-and-a-half ago when Smolan approached Apple Computer and Kodak to fund the project as a demonstration of CD technology. "At first they didn't see why they needed something like this. I told them: 'You need a powerful and emotional title. Stock photography CDs just don't do it,"' he says.

The disc features an interactive narrative, with Davidson reading excerpts from Tracks, as Smolan's photographssome not even in the book-are displayed on the screen.

From time to time a video of Smolan appears in a corner of the screen in which he adds his reminiscences to Davidson's narrative. In addition, the viewer can click on the icons that occasionally appear on screen to get more Right: Two CD discs are bundled inside photographer Rick Smolan's book, From Alice to Ocean: Alone Across the Outback. One is a Kodak PhotoCD, which takes advantage of Kodak's new PhotoCD technology; the other is a Macintosh interactive CD, designed to allow viewers to take themselves along on the journey. Smolan produced the entire project and delivered the finished books to Addison-Wesley in the United States and Penguin in Australia . The genesis of the project dates back to 1977. when Smolan , on assignment for National Geographic, went to Australia to photograph Robyn Davidson, a 27-year-old woman who spent a year trekking from Alice Springs to the Atlantic Ocean in the company of her dog and a caravan of camels . Alice to Ocean combines 250 of Smolan's original photographs and approximately half of the text of Tracks. Davidson's own book about her travel adventures . The Photo CD boasts a half-hour of narration, 1,000 additional photographs, examples of Aboriginal language and OuickTime movies featuring 60-second clips of Smolan sharing his photo tips.

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information about related topics, say camels or Aborigines, or to hear Smolan talk about how he took certain shots.

The interface is notable for letting viewers get a navigation window at any time, through which they can easily move to other sections of the narrative or to the sidebars and photo tips. One failing of the design is the occasional use of hashmark apostrophes (dumb quotes)- a desktop publishing rookie's mistake.

Smolan is especially excited about Kodak ' s PhotoCD technology. "It's incredibly satisfying as a photographer to see your work the size of a TV set. I would never have thought two years ago that I would want to see photographs on television, but it looks incredible." Smolan explained that standard TV signals and video use only half of a television's scan lines. By using all the scan lines , PhotoCD produces striking results.

Smolan is excited about the implications of multimedia on his work. "The disc provides a conversation with Robyn," Smolan says. "People felt that the technology would distance the reader. In fact it brings the reader closer. As a photographer, I'm not dependent on other people to present my work. I can make all the decisions. You see exactly what I wanted you to see.

PhotoCD has more practical advantages too, Smolan says: "When I send a photo to be reproduced in a magazine, I want to give them the original but I'm afraid they'll lose it or damage it, so I give them a dupe, which means the quality isn ' t as good. A PhotoCD is a digital original."

"There are too many editors in the way," Smolan explains. "If you work for National Geographic, they can only devote so many pages to a story no matter how interesting it is. But with CDs, a story that deserves 500 pictures can have it. We gave people the opportunity to listen to Robyn or to interrupt her-to have a conversation with her. There are multiple paths through the same story.

Readers can follow their own lines of curiosity."

Compact discs are an important medium for photography, Smolan believes, in terms of both economics and the quantity of images that can be presented. "There is tremendous real estate on compact discs. We could have had 800 images at incredible resolution on this disc. In fact we only used a third of the disc."

The economics are compelling. "When I did Alice to Ocean, the publisher's risk was $400,000-the color separations cost $40,000 and the printing cost $360,000. That's a big risk. So there are a lot of good stories that don ' t get told.

Talented photographers can spend a couple of hundred dollars to scan onto PhotoCDs , put as much creativity and talent as they can into it, and publish the work in small quantities. I really think it' s a whole new form for photography. " J66

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Smolan is currently working on Natasha 's Story: An American Homecoming, about the adoption of an Amerasian girl.

Smolan met the girl in 1978 while shooting in Southeast Asia for Time. The girl was being raised by her Korean grandmother who, when she died a few months later, left the girl to Smolan in her will.

The peripatetic photographer arranged for friends of his to adopt her. The project is being considered for feature fi lm treatment by Francis Ford Coppola's Zoetrope Studios.

The book, CD and possibly a movie should be released by next summer.

Smolan believes that CD-ROM is part of a trend to return to conversation and storytelling in America. "My mother is turning 70 soon , and we kids are talking about taking all these pictures we have and putting them on disc and having the whole family narrate them . When the Oakland fire happened , I thought of all the families who lo st their wedding pictures, their baby pictures. Now you can have 100 photographs preserved on disc and you can copy itit's all digital. People will do this personal storytelling."

Smolan sees CDs as an extension of books, not as replacements. "I don ' t want the CD to replace traditional photo books. I see them as augmenting the book experience. I love the feel of photo books. But CDs allow me to give someone the experience I had. And there are stories that will be published that publishers would never touch. "

FOCUS.

ADVANCE.

If you want to check out other photo-based CDs, here are a few interesting titles: •Warner New Media, a divison of Time Warner. has released several discs featuring the photography of Time and Life magazines and of Tim e-Life Books . Seven Days in August tells the story of the Berlin Cri sis of 1961 with photographs, video and sound clips . Desert Storm: The War in the Persian Gulf is a multi-media magazine, featuring 300 co lor photographs, as well as original reports , correspondents' files and audio reports.

Clinton: Portrait of Victory Another book/CD package is Clinton: Portrait of Victory, a collection of Time photographer P.F. Bentley' s blackand-white photographs of the Clinton campaign. Bentley had talked his way into the inner sanctum of the Clinton campaign and was able to take astonishing pictures of the candidate and the campaign in the most public and private moments.

If Robyn Davidson was always painfully aware of Smolan's presence, the Clintons quickly forgot about Bentley's. The result is some incredible political photographs: Clinton and Jesse Jackson speaking privately, Bill and Hillary staring at each other on the back of the campaign plane, Clinton playing saxophone in front of a hotel window, the candidate speaking at a rally-a huge billowing American flag blocking all of his body except for a cuff, shoe and gesticulating arm.

Critical to Bentley ' s success was his decision to shoot in black-and-white. Searching for a different angle on campaign photojournalism, he hit upon hi concept: "Shoot the campaign in black-and-white without all the color photos opps. Get the real story. Recreate a mood and a look not seen since the ' 60s."

The photographs in Clinton don ' t have to be viewed linearly. You can view them as part of a narrated clip or in a "photo album." The disc is divided into three sections: the assignment, the candidate and the campaign. Each of these sections is divided into five subsections and the viewer is free to view a narrated film on, say, the convention, or to flip through the photos in that section. The photo album interface lets you flip through one at a time or Left: Throughout the last presidential campaign, Time magazine photojourna li st P.F. Bentley had nearly unlimited access to Bill Clinton. Bentley captured the publ ic and private Clinton and shared his bird's eye view of the president in CLINTON: Portrait of Victory, a CD-ROM released appropriately enough on Inauguration Day. Available for both Macintosh and DOS platforms on the same disc, the program triples the number of Bentley's photographs presented in the book of the same title from Wa rn er Books. showing 300 duotone studies. chosen from thousands he shot for Time magazine. Published by Warner New Media in associ ation with Epicenter Communications and Amazing Media, the CD-ROM offe rs mus ic and aud io, and , in the Mac version, digital video clips, includ ing cand id behind-the-scenes footage in full color.

PRINT

TO

DISC

• The View from Earth is an interactive Time-Life book with hundreds of color photographs, illustrations and some 1,000 pages of text. Warner New Media, 3500 West Olive Avenue, Suite 1050, Burbank, California 91505; (800) 593-MEDIA. • If you purchase Adobe Photoshop 2.5 on CD , you'll also receive a collection of digital artwork from the 1992 San Francisco Digital Art and Photography Show, as well as 50 high-resolution stock photos, some additional Photoshop filters, and information on how to use the program . Adobe Systems, 1585 Charleston Road, P.O. Box 7900, Mountain View, California 94039.

jump to, for example, the thirtieth picture in that section.

Unfortunately, there ' s no "contact sheet" of images, so moving around is difficult. Users of this disc will likely not listen to the-how to put it?-celebratory narration more than once or twice.

The assignment section is particularly interesting in that it gives some insight into the nature of Bentley's relationship with Clinton. For instance, describing a shot of an angry Clinton bawling out his staff, Bentley writes: "The great thing about Bill Clinton was that he paid no attention to me .. .I kept shooting, even walking among them to get the reverse angle, and they still paid no attention to me."

There are also some essays by Time editors and photographic information from Bentley. Unfortunately, the presentation of type is rather poor, essays are set in Geneva and placed in scroll-bar windows.

While Bentley foresees a future in which CDs are widespread, he doesn't believe the new medium will affect his craft. "Photojournalism will never die!" he says.

"Either you're a journalist in the classic sense or you're a photo-illustrator using the computer to combine or change images. I'm amazed at what people, some of them close friends, can do with computers and photographs.

It's just not what I do ... You can't go around shooting a certain way for a CD and then shoot another way for Time magazine or another way for a book. The technology has to conform around the photographer's style, not the other way around."

So how do CDs stack up as mediums for photography?

"I felt that the CD both added to and subtracted from the original work," Bentley says. "In the book I had about 125 images , on the CD nearly 300, so people can see a lot more photographs than were in the printed book. Plus, there's a lot of background not in the book. On the other hand the photographs are only as big as your screen sizeor part of your screen size, depending on the layoutand you lose a lot of detail because of the limitations of the monitor."

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Design Technology

WENDY RICHMOND

OUR DESIGN COMMUNITY

I

'M ON THE BOARD OF THE AMERICAN Institute of Graphic Arts , and a few weeks ago I attended our annual planning retreat of national and chapter board members , about 150 people altogether.

By coincidence, Dale Chihuly , the glass sculptor from Seattle who is well-known for his incredibly beautiful pieces and installations, was vacationing nearby. Someone from the AIGA Seattle chapter recognized him, and asked him if he might give a lecture to our assembled group.

He said yes and called his studio to Fed Ex his slides .

During his talk the next day , he told us a story about a major installation that he had been dissatisfied with. He told his client (the owners of the office building that housed the installation) that he wanted to do it over. No , they said, it's fine. He insisted, and said he would redo it at his own expense. No, they said. He persisted-even when the building changed ownership and he had to begin his plea from scratch-until the owners finally acquiesced.

Well, you could just feel this whole audience of designers sigh in empathy as if it were one amoeba. And as Chihuly continued to show his work, our admiration, not only for the beauty of the pieces, but also for his commitment to do what he felt to be right, was clearly apparent from the oohs , aahs and excited whispers.

That experience was, for me, a symboi of the whole weekend. The sessions and the conversations all had these elements of enthusiasm, commitment, and most of all, mutual understanding. The retreat was a reminder of how important it is to be with people who understand what you really care about.

I was particularly sensitive to this. I have been having an increasingly urgent debate in my brain about the negative and positive effects that technology is having on the quality of our lives. At this AIGA retreat, I found myself presenting this dilemma almost obsessively, and I was repeatedly rewarded with thoughtful responses and discussions from people who understood. I'll give you a few examples.

After the lecture, my friend Alina Wheeler and I started to talk about Chihuly. This led to other subjects, mostly to do with developments in the design profession, and in our own work. I described my conflicting feelings about the advancement of technology, and Alina gave me a perspective that was perceptive and knowledgeable, even though our work is totally different. She suggested that I read an article in the New Yorker about Barry Diller, former chairman of Fox, Inc. , and his exploration of new communications and delivery technology. But the reason she recommended the article was not for its update of who's 170

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who and what's what in the industry. (God knows , there are enough articles about that lately.) Instead, Alina knew that I would be inspired by the journey that Diller undertook to develop his own unique, informed and personal perspective of the future.

Later, I got into a conversation with another friend, Hugh Dubberly. We talked about the AIGA' s need for better communication between national and regional chapters.

This led to a discussion about electronic mail , and its tremendous potential value to the AIGA. E-Mail would be perfect for sharing all sorts of valuable information and experiences, and much more efficient than AIGA ' s current use of mail, phone calls and faxes . We happened to be standing in a hallway full of tables covered with posters , mailers, newsletters and books from the various chapters.

We remarked that with just a glance, we could get a sense of the nature of the piece, and the message it wanted to communicate. But what about E-Mail? There is no typography, no hierarchy, no design to tell you whether you ' re about to read a legal document or an invitation to a company picnic. What a stark contrast to that rich and expressive array on the tables! The more we talked, the more we had to talk about. We agreed to continue our conversation via E-Mail, partly as an experiment for ourselves and AIGA, and even more as a way to keep in touch.

These are the discussions that I need to have. And I'm sorry, but it's just not the same at the Boston Computer Society, or MacWorld, or SIGGRAPH. Because at those places, the real buzz is about new computers, new peripherals, new features and new titles. The conversations that spring from a Chihuly lecture are entirely different from those following a demo of digitized full motion video.

When we're pressed for time, we all have a tendency to limit our extracurricular activities to those with the most immediate return on investment. We might, for example, go to a workshop in MacroMedia instead of a design conference. This is shortsighted , and it ' s a mistake. I am reminded, each time I go to a design event, that it is at our own conferences, workshops and retreats that we really find out where our future lies. Designers have a community , and it is a precious one. If we don ' t nurture it, it will erode.

Editor's note: The New Yorker' s article on Barry Diller appeared in the Februa ry 22, 1993 issue; an article on Dale Chihuly ran in the February 1992 issue of Smithsonian. ©1993 W. Richmond

•

Technology

M ARIA P ISCOPO

THE BUYING AND SELLING OF DIGITAL IMAGES VEN THOUGH DIGITAL IMAGING IS STILL an emerging technology, it is not too early to try to identify who your clients will be and what you will charge. There are two distinct uses for digitally produced images: The first is for clients who want illustration, images that no longer look like photographs, and the second is to recreate the way photography is bought.

E

As a photographer, you are selling the creation of a unique, new expression-your personal style. Because this is style and not a subject specific strategy, you need to expose all potential clients to your work. Like any photographer, advertising in a source book is probably the best marketing tool because it can expose tens of thousands of clients to your sty le. They will then call from your ad or mailing when they have just the right job. The most common response to these types of digital image portfolios is, "Great work! I can't wait to find the peifect project to try you on."

Currently the most frequent clients seem to be in publishing and editorial. These have always been very strong, traditional markets for personal style but they are also the low-end in pricing.

The second kind of client buys digital imaging to get something that still resembles a photograph, but the photographer creates the final image instead of an outside service.

The most likely client is the client you already have. This is the client that used to tell the photographer, "Shoot this so I can have the photograph retouched or assembled later." Now, a photographer can do the image enhancement and assembly. There are at least six potential profit centers with this "new photography": 1) For scanning Polaroid test shots during a shoot so

the client can check on, and even revise, the ad layout on the spot.

2) For adding a background image to a studio image to create a photograph that looks like it was done on location.

3) As image enhancement or addition, formerly done by the client, now available from the photographer.

4) As a production tool for the moving or removal of elements used to create the image.

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As president of Synthetic Imaging, Inc. in New York, Sam Merrell' s perspective is from a historical point of view.

He looks at the history of images used for advertising as moving from hand illustrations to photography and, now, a post-photography era of images. He feels there is a drive-even if indirect-from the client side to continually produce new kinds of visual expression. Art directors are usually not calling and asking for digital images, but they are constantly searching for new looks for their clients' advertising.

Merrell feels this need for image consumption will eventually catch up with the current emphasis placed on the technological aspect of digital images and the two together will make for permanent change. Sam says, "Photography is an art retooling itself." His concern over pricing is the "loss leader" approach; he believes that a photographer bidding on a digital imaging job for the first time is often unaware (as is the client) of the hidden costs of production. A creative/usage fee can be entirely consumed by the scanning, output and equipment rental costs! His worry is that this "learning on the job" approach can result in under-priced jobs, and is a bad start for such an infant industry. Merrell recommends taking seminars and workshops for at least a year to develop the learning curve required to accurately bid on a digital imaging job; less time if the photographer has a partner. He also advises that photographers account for the five major digital imaging costs: 1) How much time will be spent on developing the concept or original idea?

2) How much money will be spent obtaining the original photography elements?

3) Prices for scanning services can range from as low as $39 per image for Kodak PhotoCD to $150 for a drum scan.

4) How much time will be spent in front of the computer?

Depending on experience, expertise and equipment investment, this could range from $100 to $500 per hour.

5) Plan extensive discussions with the client on the image output requirements. Costs could range from $5 for a low-end 35mm slide to $300 for a high-end transparency.

5) For self-publishing of fine art photographs.

Remember, these are just photographer's costs and do not include normal expense markups.

6) To reduce self-promotion overhead expenses with customized portfolios and promotional material.

J.W. Burkey, of Dallas, Texas, finds his digital imaging clients mostly among graphic designers. Though editorial

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Technology BUYING AND SELLING DIGITAL IMAGES

assignments are very easy to get, he loses money on each job once overhead costs are considered.

Burkey explains,"The one thing most clients have in common is that they are looking for a way to break through the advertising clutter. Whether they have an approved layout or just a vague idea, my specialty is to create something that will stand out."

As a photo-illustrator, he is selling a new look for a familiar object or something more abstract. By defining his work as illustration (where the client does not come to a "photo" studio), his client base is automatically national and international. Since the investment in a computer workstation is roughly equal to that of a fully-equipped photo studio, he feels you should begin by calculating your overhead and have a base price below which you cannot work. Like illustration, assignments are priced at a base that includes a concept consultation, one rough and one finish drawing and one round of minor revisions. Anything else is extra.

Single-element illustrations range from $1,500 to $3,000 and the final estimate depends on the number of elements.

According to Burkey, "Our biggest pricing problem is people who want unlimited revisions for free. On a computer job, the paint never dries."

Joy Satterwhite, of Satterwhite Photography in Concord, Virginia, uses digital imaging to produce the "straight shots" she feels most clients want for their advertising and collateral projects. Satterwhite feels this approach has the long-term potential to give clients "in-house" control over the final image, previously spread out among different suppliers. She sees very good profit potential in this "packaging" of photography, retouching and compositing sold to advertising agencies. For their corporate client market, Joy, and her husband, Al, are a designer/photographer team, selling every aspect from concept to final artwork.

San Francisco-based John Lund has 100% of his work going through digital imaging, with about 60% from his own images. His clients range from one-person design firms to large ad agencies. With multiple workstations in his studio, his client list includes other photographers, stock agencies, magazines and photo labs. He prefers to bill on a project basis, using an hourly rate between $175 to $250 per hour as a guideline. On a recent packaging photo, his $3,000 fee included the original photograph, concept per supplied comp from client, specified output and an hourly rate quoted for changes and alterations; the hourly rate totaled $800 at the completion of the job.

Lund emphasizes, "Clear communication regarding pricing is much more critical here than in conventional photography because of the client's perception that changes are so much easier to make."

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Jerry Tovo, based in St. Louis, sees digital images as a way to get clients to rethink their entire approach to creating original photography. For example, "woman on the beach at sunset," would be thought of by most art directors as a location shoot. Digital technology creates the option of having the photographer merge a studio shot of the model with a stock shot of a sunset. In this one example, the technology changes this photo assignment from "weather permitting" to "weather guaranteed." Tovo doesn't see a need to find new clients for the new digital technology a much as he sees a need to change the way existing clients buy photography. For Jerry, "The bottom line is that most clients are pretty conservative and ju t want straight photos.

Our job is to break their routine of planning the photography without the photographer doing and billing all of the work of creating the final image."

Tovo adds, into each project, a minimum amount of billing for time on the system as an effort to help clients change the way they buy photography. Mo t importantly , he does not bill what he does as retouching, but as image enhancement. "We are not involved in this part of the business to be retouchers," he claims. "Our focus is to generate larger income from the new and expanded projects we can do as a result of owning this system. " His studio estimates system time on a project at $250 for the first hour and $150 for each additional hour. Scan and output costs are estimated by the service bureau and marked up slightly. Before a shoot, each client receives a project cost estimate, with extra charges for additional requests or alterations clearly spelled out.

The issues of digital imaging technology are till in the developmental stage, so it is premature to make definitive statements about selling and pricing. At the ame time, photographers have to pay the rent. In the last two years, the emphasis has been on the technology and the education of the photographer. This has been a technology-driven change-"Look, we have something new to play with! "as opposed to a market-driven change-"All my clients are asking for it." It is time to talk about who is going to buy all these wonderful new images the technology has made possible.

Whether it is digital as illustration or digital as new photography, it's time to look at the return on the substantial invest in equipment and training on the part of the photographer.

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Team One .\lhertising did. The idea for their next stunning Lexus ad, hidden somewhere in the dusty silence of a forgotten road.

Finding it took a remarkable group of people. All using an equally remarkable computer.~The Apple Macintosh~ Whydid theychoose 9

Macintosh? <!J Maybe they wanted computers with the power to work intuitively, letting people explore ideas the moment inspiration strikes. Not the moment they remember how to use the system. ~ Perhaps they needed computers versatile enough to handle everything For the name ofyour nearest authorized Apple reseller, call 800-538-9696, ex/. 210. just add Macintosh PC Exchange· software. © 1993 Apple Computer, Inc. All rights reserved. Apple, the Apple logo, Macintosh and 'The power lo be your bes/" are regirlered trademarks

from memos to mechanicals. Or the only computers able to read from and write to Macintosh, DOS, OS/2 and Windows disks, offering compatibility with most existing systems: COJ It could have been our exclusive ColorSync™ system, which ensures bright, accurate output every time. Or maybe, just maybe, Tham One chose Macintosh for the same reasons everyone else does. For the power ~--­ to explore new ideas.~ The power to chase dreams. The power to be your best~ Macintosh for Communicators. and ColorSync and Macintosh PC ExdJange are trademarks ofApple Computer, Inc. OS/2 is a registered trademark ofInternational Business Machines Corporation.

Technology Reviews

LISA S PIEGELMAN

DIGITAL IMAGE CATALOGING SOFTWARE ITH THE HIGH STORAGE CAPACITIES of today's hard disks and CD-ROM technology, there 's almost no limit to the number of images you can stockpile on a computer.

The only problem, however, is finding an image once it has been stored along with 20,000 other images in various file folders, on hard disk or CD-ROMs. (Sounds a lot like looking for a needle in a haystack, doesn't it?)

W

Fortunately, there are a handful of image cataloging programs that promise to tackle the tedious job of riffling through files. For Macintosh computers, programs include Aldus Corporation's Fetch, Eastman Kodak Company ' s Shoebox , Imspace Systems Corp. Kudo Image Browser, StrucSure Software StrucSure 2.0 and Tulip Software Media Tree.

All these Macintosh programs, which are designed to search hard disks, folders and CD-ROM drives for images, have similar features; they let you create and search a catalog(s) of images by key words or by viewing small thumbnail

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P H 0 T 0 G R A P H Y

One drawback of most of these cataloging programs is that they lack security features for protecting your images from unauthorized use. Even though this is already important, it will become critical when network and multi-user versions are available.

The support of mixed media is one of the main differences between the newer and older cataloging program s. The newer programs also create thumbnail representations and tell you where the image is located.

While managing images isn ' t a new problem for graphic designers and photographers, prior to this year image cataloging programs didn ' t get a lot of attention. But things are about to change , says Tom Toperczer, vice president of marketing for Imspace Systems Corp. in San Diego, California. "Last year scanners were expensive , the programs were expensive and file formats were evolving. All those things are changing. " Ed Anson, president of Tulip Software agrees. "Within the last year, the interest in image cataloging software has picked up. People are getting more into multimedia, CDROM technology is more common and disks are getting larger. Now you can get a gigabyte of storage in a 3.5inch format for under $1,000. Today , people can put all their images on the drives, now they need a way to maintain it," Anson says.

Even as big-name vendors have entered the image cataloging market, no single vendor has emerged as the market leader. Both the market and the programs are still too new.

Briefly reviewed below are the major Macinto sh image cataloging programs. Many of these programs will al so be available soon for Micro soft Windows platform. Other companies with Windows image cataloging programs not reviewed include Lenel Systems International Inc ., Pittsford , New York and CentralPoint Software Inc ., Beaverton, Oregon. CentralPoint acquired Eikon Systems Inc. and Eikon ' s Scrapbook+ for Windows, an image and video management program.

ALDUS FETCH

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J 80

replicas of the original image. The thumbnail image size is typically 1.5 x 1 inch. Additionally , the newer programs not only support photographs , clip art and other graphic images, but they support "mixed media" sound and images such as multimedia presentations. Many of the programs support as many as 30,000 items per catalog.

While there isn' t a clear-cut leader in the image cataloging field, most vendors seem to be positioning themselves against Aldu s Corp. ' s Fetch program.

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Helps you explore ideas. Our intuitive software lets you concentrate on your work and not on your computer, so it's easy to integrate images from video, CD, digital c,ameras and on-line servic:es and sc.anners. And bec.ause you bill clients

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Technology REVIEWS

Fetch, which was originally introduced in September 1992, is a mixed-media Macintosh program for cataloging and retrieving files on the Macintosh. It supports illustrations, digitized photographs, clip art, video and sound files as well as Apple ' s QuickTime. With Fetch, you can search for images with key words and view the images as low-memory thumbnail sketches. Additionally, the program gives you a pointer or information where the original file is located.

Unlike many of the other programs, Aldus is available as a multi-user program. With this capability, more than one user can search through the same catalog simultaneously.

Even though you can't go wrong with Fetch, the program isn't without its critics. For starters, users complain that the process of setting up a Fetch catalog is "laborious" because you have to enter each de cription manually. Moreover, Fetch detractors say the program ' s searching capability is limited and slow compared to other programs. Finally, Fetch doesn't support Quark.

Fetch is available for $295 for the single user version and $1 ,995 for the ten-user version , which is called Multi-Ad Search. Fetch supports all standard Macintosh formats as well as Aldus Persuasion, Freehand and PageMaker programs. Fetch requires an Apple Macintosh, 5MB of memory and a hard drive.

Aldus Corp. , 411 First Avenue South , Seattle, Washington 98104; (206) 622-5500.

KODAK SHOEBOX

Even with all these great features, critics of Shoebox complain that the program is databa e intensive and as a result, difficult to use. Additionally, the program doesn ' t have a multi-user version and doesn't upport Quark. (Kodak ' s Alcorn says that will be supported in a future version.)

Shoebox is priced at $99 through the end of August, and then will retail for $345. It is available for both Macintosh and Windows platforms. File formats supported by Shoebox include PICT , TIFF and EPS files as well as QuickTime.

Eastman Kodak Company , 343 State Street, Roche ter, New York 14650; (800) 242-2424, ext. 53.

KUDO IMAGE BROWSER

Imspace Systems Corp., a small vendor, is trying to make a splash in the image cataloging market; the company has started shipping Kudo , a mixed-media management program for the Macintosh. (You may have heard oflmspace 's product, PICTpocket. This i an image cataloging utility that was available free through bulletin board services but is no longer available.)

Kudo supports the tandard et of features found in image cataloging programs: scanned images , clip art, QuickTime movies and photo collections; it can also make thumbnail images of the original. You create a catalog by simply loading the folder or hard disk, and Kudo creates a thumbnail image.

Eastman Kodak Company ' s Shoebox program is the most recent addition to Kodak's extensive family of imaging products. Shoebox, which started shipping in May , is an image cataloging and searching program for the Macintosh computer. And like other programs, Shoebox offers thumbnails and provides "pointers " or information where an image is located.

Additionally, the program lets you select an image and drop it into an application as well as preview a full-blown image without launching the application. This feature works with PageMaker and QuarkXPress.

Compared to other programs, Shoebox 's search capabilities are impressive; you can create and search catalogs with as many as 100 different descriptive fields that you define. With the program , you can look at a list of fields, so you don't have to remember all of them.

Drawbacks of Kudo are that it doesn ' t have a Windows or multi-user version. Both are under development.

Mike Alcorn, program manager for all the Kodak PhotoCD software products, says the greatest benefit of Shoebox is its "flexibility and capability to correspond to the specific needs of users. " Without question , Shoebox has a lot of bells and whistles including built-in editing and printing that enable you to view, crop, copy and print images within the program with a click of the mouse.

To save space, Shoebox lets you have thumbnails in either color or black-and-white. It also has a slide show capability 182

that allows you to view repetitive thumbnail images at designated intervals.

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Kudo also has a feature dubbed Riffle that allows thumbnail images to be shown automatically on the screen at a rate of approximately ten frames per second.

The program is available for $295. Kudo requires a Mac running System 6.1 or later, 2MB of memory , and 2MB hard disk drive. It supports TIFF, EPS , PICT, QuickTime, PhotoCD and Photoshop 2.5 file formats.

Imspace Systems Corp., Suite 360, 4747 Morena Boulevard, San Diego, California 92117; (619) 272-2600.

STRUCSURE 2.0 -THE PHOTOGRAPHER'S MANAGEMENT SOFTWARE

As an office management program complete with built-in image inventorying and retrieving functions, StrucSure Software ' s StrucSure 2.0 -The Photographer's Management Software fills the bill. StrucSure consists of eight modules

or templates that work with Claris Corp.' s FileMaker Pro database to provide office management functions such as client billing, project tracking and image cataloging.

As an image cataloging product, StrucSure has all the standard features. It supports small thumbnail images, multiple-word searche , PICT and TIFF file formats and provides image location information. Because the program i linked to client billing records, you can search files by client names.

Even though StrucSure is a small company, it is a member of the Claris Solution Alliance. As such, StrucSure receives marketing and technical upport from Claris Corp., Apple's software division.

The biggest drawback of StrucSure is its lack of extensive searching functions, when compared to other programs.

Neither does it offer the range of file management features of other programs. For in tance, you have to exit the program to access an image; you can't "drag and drop" an image into an application like you can in Shoebox or Kudo.

Al o, the program doe n 't support sound and images; you can have a picture or sound, but not both together.

double click on the mouse will produce the original image.

Unlike other program , MediaTree only requires 700KB of system memory to operate; other programs require 2MB or more. Other potentially unique features include placing an image directly into a PageMaker document and an incremental, interactive search capability, says Anson. This is the capability to redefine a search by narrowing or broadening the search in progress.

The next release of MediaTree, which is scheduled for August or September, will support separate fields for searching, as well as Apple Scripts.

MediaTree is currently shipping for $248. It requires a Macintosh computer running Apple System 7 .0 or later, and a minimum of 2MB of hard disk space. Among the file formats supported are PICT, TIFF, EPS, Photoshop and PhotoCD. Tulip Software, P.O. Box 3046, Andover, Massachusetts 01810; (800) 972-9659.

•

Nevertheless, StrucSure is one of the few all-in-one program available, in both Macintosh and Windows versions.

The Mac version tarted hipping last year, and the Windows version this year.

StrucSure sells for $279.95, and requires FileMaker Pro, which is $399. StrucSure is compatible with Macs running System 6.0 or later, 4MB of system memory and a hard drive.

StrucSure Software Company, P.O. Box 11633, St. Louis, Mi ouri 63105; (314) 993-7577.

TULIP SOFTWARE MEDIA TREE

Unlike other programs, Tulip Software has been shipping MediaTree since January 1992; the company is readying the next major release, Version 2.0 for introduction this month.

MediaTree is a mixed-media cataloging program upporting image as well a ound and QuickTime movies. With MediaTree you can create a catalog simply by loading the file folder or hard disk; you don't need to re-enter the data. "The program basically looks through whatever content, creates a thumbnail and labels the image with whatever it finds," Anson says.

If the program can't find anything within the image to label,

you have to input the information. Other drawbacks of the program are that there isn't a multi user version available or a Windows version.

MediaTree supports thumbnails, provides information where the file is located and allows you to search by key words or phrases. Once you've found what you were looking for, a COMMU

ICATIO

ARTS

183

Technology

RESOURCES Books

BOB BRANT'S BEST OF MACINTOSH SHAREWARE

By Bob Brant 350 pages, paperback $29.95 Published by Windcrest Books/McGraw-Hi ll , Inc. Blue Ridge Summit, Pennsylvania 17294

Buy a Mac. Take it out of the box. Plug it in. Turn it on. Until you buy the software that turns your Mac into a tool, you've just purchased one of the most expensive paperweights in the world. Depending on what you are going to do with the Mac, your software expenses can quickly outstrip the major expenditure you've just made on hardware. This is where "shareware" and Bob Brant's Best of Macintosh Shareware comes in.

Shareware is the generic term for the literally thousands of Mac software programs available on Bulletin Boards, through Mac User Groups, and in the classified section of special interest magazines. Shareware will transform you from a computer weenie to a power user. Shareware promises productivity gains, better allocation of system resources and really cool games, all at extremely affordable prices. Sometimes, as with programs like ZTerm and Stuffit, shareware offers software better than that available commercially at ten times the price.

These software programs tend to be labors of love , usually written by one inspired programmer who aw a problem and decided that his piece of software could fix the problem in an elegant way. The fact that people might pay a nominal fee for this elegant fix might also be part of the inspiration.

Not having the financial resource of a Microsoft or Adobe, this programmer could not get the capital together for a four-color box , a printed manual and a sales force to get the oftware into the retail channel.

Instead, the software is distributed J 84

P H 0 T 0 G R A P H Y

A

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free, to you, the end u er. You try it.

If you like it, you send the programmer a check. It is the ultimate honor system. What 's to keep you from ripping off the programmer? Bad karma.

Your conscience. And the promise of a manual, plu inexpensive upgrade as the programmer works to improve the product.

Just like our anonymous programmer, who saw a need and filled it, Bob Brant saw the need for a concise directory of the best available shareware currently available for the Mac. After a gentle introduction on how to use your Mac to get the most out of shareware, Brant divides the realm of shareware into ten functional areas. A chapter each is devoted to shareware for System 6, System 7, Multimedia, Communication , Business and Productivity, Utilities, Graphics , Education, Hypercard Stacks and Games. Within each chapter, Brant offers a fairly breathless review of each software's features and benefit . If the complexity of the software demands it, Brant includes a minitu torial, supplemented with screen capture of various menu option s, dialogue boxe and status bars.

For those Mac users interested in diving into shareware, Brant 's book is an excellent place to start. He thoughtfully includes a 1.44 MB floppy disk jammed with shareware and lists the addresses of all shareware au th or in addition to tho e of Mac User Groups, On-line services and distributors. Next step: get a modem o you can download shareware from an electronic bulletin board. Don't worry, Brant offer plenty of guidance for first time telecommunicator , and the floppy disk includes ZTerm. Or join a local Mac U ers Group. Then dive in.

Brant's book does an excellent job of culling the good from the bad, the ugly and the downright useless. For graphics professional , the shareware reviewed in the Graphic chapter runs the gamut of niche filling software like Block 1 993

Paint, to mu t have you' 11-wonderhow-you-ever-lived-without-it program like Imagery 1.7 that converts foreign-platform graphics files to Macintosh TIFF, PICT and GIF file .

Of course, the proof of the pudding is in the ta ting, and you '11 quickly decide if shareware is right for you. And remember, if you u e the product, don ' t be a sleaze. Pay up. Otherwi e, bad cess to you.

-Sam McMillan OPENING WINDOWS

By Jo ep h F. Fournier II 556 pages, paperback Publi shed by Random Hou e 201East50th Street, New York,

45.00 ew York 10022

Opening Windo ws provide s readers a one-stop book to get acquainted with ba ic Window concepts, u e , available software and varied resources.

The author ha made a generou effort in what might be con idered an imposible task in this rapidly changing marketplace where built-in obsolescence is the key to tomorrow's sales.

(DOS 6.0 ha been released and will no doubt solve so me problem s a it create others.)

The book includes $500 in oftware discounts and rebate coupons and a 3.5" di kette of shareware utilit y programs. The coupon offer discounts or rebates off the list price for popular oftware, when purchased directly from the manufacturer.

Opening Windows i divided into four parts: Part I includes definition s of general term , an excellent "fine tuning" section including information on why a graphic user might want to u e Adobe fonts.

Part II provide a broad overview of uses and considerations with Windows programs, including program primers on text, graphic , financing, color u e, multimedia, communications and networking.

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•Extensive typographic controls, such as leading, kerning, tracking, letter spacing, text width

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CALL (800) 685·3528 FOR MORE INFORMATION. ABSOLUTE POWER FOR THE CREATIVE PROFESSIONAL This ad was created using Aldus PageMaker and Aldus FreeH an d~ ©>1 993 Aldus Corporation. All rights reserved. Aldus, the Aldus logo, Aldus FreeHand, and PageMaker are registered trademarks of Aldus Corporation. Other product and corporate names may be trademarks or registered trademarks of other companies, and are used only for explanation and to the owners' benefit, without intent to Infringe.

• Font mapping for cross-platform font substitution • Support for Subscribe (Macintosh System 7) and for OLE (as a client application) • And much more

Technology RESOURCES

Part III is comprised of descriptions of some of the more popular Windows programs, including as ets, liabilities, tips and support information.

The appendices give basic troubleshooting information, useful lists of names, addre ses and phone numbers of software manufacturers, service bureaus, bulletin board services and shows and conferences.

The book is rich in useful details and each topic is briefly and generally well covered. However, the author only hows the uncritical face of Windows, and understates the demands and requirements of the user. The bonus coupon and outstanding shareware included help make up for what the book might lack in candor.

In the subtitle of the book "U ing Windows Products Together," "together" means that various Windows programs can be u ed on the same computer, one after the other. In my opinion, the book optimistically implies that any assortment of Windows products either can or should be used together. Let' look deeper: Usually a "power user" (excu e me) uses numerous programs. A graphics user for example will use these one after the other to successfully edit and output an image. This makes the understanding of and the ability to use Windows programs "together" so important.

Now, Windows is not an operating system, but a menu system (Graphical User Interface or GUI) which looks and acts in ome ways like an Apple Macintosh. The author states that Window's popularity "is largely based on its ease of use." It al o handle tasks common to most programs such as printer configuration and fonts. But Windows 3.1 is also fairly "machine" (computer manufacturer) dependent.

Due to the wide range of designs and configurations of components used to make up a computer which runs Window , a user might confront some very complex and time consuming quirks and problems when installing 188

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and running combinations of DOS and Window based products at all, much less "together."

While Opening Windows contains tips, a sets and liabilities about variou programs, these are limited. A imilar format used by one Macintosh book highlights in the margins very good features, very bad features, shortcuts and warnings. The good and bad points are clearly identified, so the reader is given a full disclosure range of information.

The book also has some areas which I find lacking such as discussions about in tallation difficulties, interactions between programs, bugs and the ambiguitie and working solutions to the melange of file formats a user must face. Also I find the discussion about disk storage requirements, multimedia and networks inadequate. Here is why: Erratic behavior: Due to the inherent DOS memory management limitations (and how some programmers de igned oftware), using one program after another can crash the computer, losing work. Sometimes reliability can only be achieved by rebooting the computer prior to using a program which causes a crash.

Drive size: Mr. Fournier under tate the demand and requirements of programs and provides almost no real information about the areas of networks and multimedia. Furthermore, in graphics he not only under emphasizes the size of disk drives required, but omits any discussion about tape drives or removable hard disks.

Scanners: The author eems to accept hand scanners without mentioning that the alignment problem can effectively eliminate them from OCR use, and their mall scan ize limits their graphic use.

Formats: While Mr. Fournier lightly touches on file format , he criticizes programs for not having the "right" import or export filters. I think this is the wrong discussion. When file transfer are needed, the mo t common reliable format is used, such as the Lotus 123 format between Excel and 199 3

Quattro. In graphics this i more of a problem becau e of all the file format , format ver ion and format and program limitations , not di cussed here.

All TIFFS are not created equal.

The hareware program include an excellent general purpo e communications program, clipboard to file utility, screen saver and a safe WIN.INI file edit program and an abbreviated program launching utility. Thi hareware package is of real value. In addition, the in tallation was quite traightforward.

I can recommend thi book to give readers a valuable, informative view of Window and its potential, but the reader will have to look to other support resources-magazine , colleagues, friends and hard experience-to get the real feel of the challenges which the Window environment pre ent .

-Edward Bigelow BRIEFLY NOTED:

The Little Excel 4 Book by Tim Toyoshima (Publi hed by Peachpit Press , 2414 Sixth Street, Berkeley, California 94710, $12.95) gives the reader "thee ential kill to put information in a worksheet, analyze it, organize it and present it. " Furthermore, the author's commitment to teaching us how to get the job done a quickly a po ible is evident throughout the book in the form of a wealth of tips and trick . For tho e who haven ' t pent much time with a pread heet program , and most certainly not Excel, Mr. Toyoshima begins with an explanation of basic terminology and philosophy, followed by the rudiments of etting up and modifying a workheet, and eventually more advanced feature such as outlining, databa es and macro . Experienced Excel u ers will appreciate the numerous tips for u ing the features new to this fourth version. It is refreshing to find a book about an office productivity tool which not only acknowledges the exi tence of electronic layout, but so clearly explains how to interface this spread-

sheet to those tools. A brief but comprehensive and well presented section covers linking Excel files to other Windows applications, and exporting Excel tables and graphs to other file formats commonly used by electronic layout and design tools.

-Cynthia Verdow

Publications

The Claris Solutions Alliance Directory contains information on templates and training programs based on Claris software. The book contains information on products like Studio Manager, a client billing/job tracking system designed for graphic design firms.

The directory is $9 .95 from Claris.

Call (408) 727-8227.

Two new publications from Agfa make important contributions to a library on desktop production. Digital Color ?repress-Volume Two provides more depth than the excellent first volume.

This edition defines quality criteria in scanner , presents four-color representations of sharpening and special effects filter and the effects of altering shadows, midtones and highlights in the four process colors. The 32-page booklet also covers some ba ic computer information like calibration, bit-depth and file formats. A section on creating duotones, tritones and quadtones uses Photoshop curves to how how results were achieved. Some of the material leads to discussions of Agfa products, but this is harmless since the information is rigorously factual.

Thi is not a sales piece. Digital Color ?repress-Volumes One and Two are available from Agfa Prepress Educations Resources, Vol. Two is $10 plus $2.50/ shipping and handling. Send payment directly to P.O. Box 7917, Mt. Prospect, Illinois 60056 or call (800) 395-7007 to order.

The PostScript Process Color Guide is a process swatch book ba ed on Po tScript output to an imagesetter.

Swatches are printed on coated and uncoated stock. Adobe Illustrator was

used to generate the colors. The book costs $25. Contact information is the same as above.

Pixel Ink's Resolution disk and Blending booklet provide lots of good information for desktop designers. The disk presents information on understanding input, output and monitor resolution issues. Some of this is helpful when illustrated by the animation; sometimes the medium means it takes a long time to obtain relatively simple information. The best feature of the disk is several screens of equations.

Here you can plug specific numbers into a graphically presented equation to get the resolution numbers you need.

These screens are intended as educational rather than practical, so you can't actually plug in, for instance, 162% for your output percentage, but Pixel Ink has done a good job of making sense of these equations.

If the Resolution disk gives a general

understanding, the Blending booklet gets into the nitty-gritty-proof positive, I suppose, of the advantages of paper. In this booklet, you'll learn exactly how Illustrator, FreeHand, Photoshop and other programs calculate blends, what assumptions they make and how you should manipulate them. If you 're confused about dots per inch vs. lines per inch or how to calculate scanning resolution for different line screens, this product will set you straight. The price is $32 for both the disk and booklet. The disk, a self-running MacroMedia Director presentation, requires a Macintosh with 8 MB of RAM and a 13" or larger color monitor. A Windows version is planned. Contact Pixel Ink at (415) 564-0962, fax (415) 564-9677 or write 520 Frederick Street, Suite 13, San Francisco, California 94117.

Conferences

Seybold San Francisco, a major conference and trade show for design, publishing and prepress technologies, takes place October 27-30 at Moscone

Center in San Francisco. Contact Seybold Seminars, 29160 Heathercliff Road, Suite 200, Malibu, California 90265. Or call (800) 433-5200 or (310) 457-8500. The fax number is (310) 457-8599.

Classes

The Palm Beach Photographic Workshops presents several electronic imaging classes in August and September. Classes include Creative Imaging/Introductory and Intermediate, Digital Photography for the IBM PC and Compatibles, Digital Photography from A to Z, Digital Special Effects, QuickTime for Graphic Designers, and more. Prices range from $150 to $975.

For times and information, call (407) 391-7557 or write Palm Beach Photographic Workshops, 2310 East Silver Palm Road, Boca Raton, Florida 33432.

The Color Center offers full-day and half-day courses in desktop color prepress. Subjects include page layout, color production, creating color illustrations, color correction, trapping and other prepress subjects. Full-day courses are $195; half days, $95. The Color Center also offers three-day hands-on courses on desktop color prepress and checking and trafficking desktop color projects; the courses are $1,200. Facilities are located in Boston, Chicago and Los Angeles. Call (800) 229-0007 or write The Color Center, 101 Rogers Street, Cambridge, Massachusetts 02142.

Products

The Communications Shop has created a single reference kit containing rulers and the graphic and typographical reference information needed to create publications on the computer. The five rulers and screens come on a durable clear plastic card; The Desktop Publisher's Reference Kit sell for $29.95.

Call (800) 733-1650 or (716) 473-1650.

-Richard Koman COMMUNICATIO

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189

FREE-LANCE B ARBARA GORDON

REPS REVEAL SECRETS FOR SUCCESS F ANYONE KNOWS WHAT IT TAKES FOR A photographer to be successful in today's marketplace, it is the working photographer's representative.

Let me share with you what some very successful New York-based photographer's reps have to say.

I

Michael Ash sums up the success formula in six tenets: "Treat people the way you want to be treated. It's not how much money you make, it's about how much you grow each year and every year. Take chances and do work that's close to your heart. If money is the driving force, it's the wrong force. It's not about quantity but about quality. Everyone needs to have more of a passion about their craft."

On a more practical note, Ash observes certain fundamentals in building successful careers for photographers.

He never puts a tearsheet of an ad in a portfolio unless it satisfies three definite criteria: It has to have a great picture, a great headline and great art direction.

When he sees the portfolio of someone he would like to represent he asks to view all of their work; he finds that he often prefers photographs they took "when they didn't know so much." Ash says, "Art directors are more choosy now, they no longer use one photographer for people, still life, etc., therefore it's best to concentrate a portfolio on strengths. Ultimately it's the work in a portfolio that sells the job."

"Never assume anything about our industry," says Bill Stockland of Stockland/Martel. "With an ever decreasing pie (of jobs) and an ever increasing pool of talent trying to get those jobs, you must always be competitive. You cannot assume that because you are talented or deserving, or have 'paid your dues' that you will get your share of the business that's out there," he cautions. "Whether you are an experienced photographer with a reputation, or a beginning photographer, you can never stop displaying your gifts or marketing yourself. It never ends."

J 92

Weber, Patrick Demarchelier-you can see what I mean."

"Successful photographers are a rare blend of many different characteristics: A clear signature style and portfolios that show a particular depth and strength and an ability to explore ideas thoroughly," adds Susan Miller. "They view obstacles as temporary rather than permanent. They never imitate the style of others. They have raw courage.

"They have a practical side too. They like to promote themselves and understand that a studio should not be undercapitalized, but should be well run and in financial health." Miller concludes by saying, "All of these characteristics will draw others to the successful photographer, creating an aura which others find unmistakable and irresistible, what we call a great reputation. " Stan Carp maintains that real success is something that lasts ten to fifteen years duration, not just two or three.

"The photographer who has been successful for a few years is probably just a trend. Longevity is what determines real success. And to be successful you have to have talent, whether that talent is God-given or developed." Carp asserts, "There is no easy route to succes . You have to nurture your craft. The successful photographer is always growing, experimenting, shooting.

"If you've got the goods, the marketplace will eventually come around to recognizing that and using you. Long-term success depends on repeat business and getting repeat business means having clients who want to use you. With the many choices available to today's clients, you have to make the clients want to use you because they look good through the work that you do.

"Appreciate your clients. Make the working experience a positive one. Repeat business is the backbone of longterm success," Carp claims.

Stockland explains, "The really great photographer has a unique vision of the world. Their style is no mistake. As a representative I have to market their crafts so that clients know that a particular photographer is the only place where they can get this uniqueness."

Alan Lee recommends, "Be objective about your talents and abilities. Identify your market, where you belong in that market and promote to that market. Read the results of your promotions and view what you have in your portfolio very objectively. Have a sales presence in the field. Have a realistic price range for your work, both highs and lows, and stay in that range. Run your business in a cost efficient way (it will be important during the next several years).

Marty Boghosian says, "In today's atmosphere, being creative, professional and financially responsible are musts and are taken for granted. But the long-term success that accompanies a photographer's career is a need and desire to have one's work evolve and break new ground, to challenge the imagination and move one's emotions. If you look at those photographers who continually re-invent themselves-like Richard Avedon, Albert Watson, Bruce

"All of these things work in concert with one another.

No one thing is going to make the photographer successful. The presentation is important. The promotion is important. Having some sort of sales/rep presence is important. Keep an eye on business and on trends. Know your own talents and abilities. They all have to work together. Not just one factor but all factors must work in concert for long-term success."

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DESIGN

ISSUES

JEFF SEAVER

WHAT'S W RONG WITH THIS PICTURE? ICTURE THIS: A GUY SUDDENLY DECIDES he ' d love to open a hardware store. He signs a long-term lease on a storefront, spends $20,000 on inventory , hires employees, starts advertising and opens his doors. He has no real knowledge of the hardware business ... just an abiding love for nuts and bolts.

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not struggling now to achieve 1993 fees ... I'm just trying to stay even with what I was paid ten years ago."

consulted past invoices, he found the same art with the same use was paying 40% more in 1985 than the highest price the agency was willing to pay in 1993. He told me, "I'm

When I began in illustration about twenty years ago, I spent most of my time showing or dropping off portfolios at magazines, book publishers, design firms and any ad

Obviously, there ' s little that illustrators or their representatives can do about a worldwide recession. The slump brought down the house of cards in advertising and publishing; ad revenues went down, consumer buying crawled to Artists are jumping into illustration too, and most of these a standstill and debt skyrocketed. But, in the midst of this newcomers haven ' t a clue when it comes to the business mess, what happened to the illustrators themselves? It's of illustration. Some of the top talents in illustration not like illustration fees reached dizzying economic and even a few artists ' agents show an heights in the boomtown economics alarming naivete when it comes to of the 1980s. Some of us were just pricing and trade practices , as if the getting used to the notion that bill"divine act of creation" is all that ' s ings (not net income, mind you) in INSTEAD OF BEING A required to be a professional. It ' s like the six-figure range were possible, sitting down to play high-stakes poker provided you put in your down payBUSINESS WHERE without reading the rules, just because ment of ten or fifteen years of 80you like the pretty pictures on the cards. hour weeks working in the trenches.

LONG-TERM RELATIONSHIPS Little did we know then that it was It doesn' t take a genius to figure out that things are bad out there. Ask any illusprobably the best it was going to get.

WERE ESTABLISHED, trator and you 'll be harangued with The field of illustration no longer morbid tales of woe. Here are a few war grows green, and each inch is being THE WHOLE TREND IN stories that recently came in on the fought over amongst ourselves. Illustragrapevine: tors aren't responsible for the pickle ILLUSTRATION MOVED TOWARD the economy is in, but many illustrators An art director at an ad agency called have shown an amazing tenacity in A" WRIST-FOR-HIRE" in portfolios from three top illustrators resisting the simplest steps to improve to get bids for a major ad campaign. The their own lots, and the results are PHILOSOPHY. client wouldn 't budge on a very limited causing all of us grief. In the melee, budget, and the art director finally hired illustrators are losing much of the herself to do the illustrations in-house, ground won in the '70s and early '80s. at one-third the price of the lowest bid.

And as they grouse and groan, many of them are being Peter deSeve, an illustrator known well for his storybook led willingly to the slaughter. style, got a call from a student recently. She began asking Invasion of the Job Snatchers him all about his techniques, what kind of paper he uses, how he applies his watercolors. Peter was taken aback by I read that art schools in the New York area alone graduate the questioning, and asked the young woman the purpose some 10,000 students a year. Along with the students of the call. She explained that her illustration teacher tells comes a wave of talent migrating into illustration from other his students to "break in" to illustration by doing exact artistic disciplines. As the recession has eroded other forms imitations of other well-known illustrators' styles and of income such as portraiture, galleries, grants, foundations, then promoting that work. Her teacher had suggested that corporate buying, crafts and limited edition sales, it seems his students should call a favorite illustrator and get tips on as though every person with drawing or painting skills has how they create their style. come into illustration looking for easier money. But no matter how many new folks come into the field, it's safe Jared Lee, a humorous illustrator in Ohio, told me he was to say that all of them want only one thing in the world: called by an art buyer last year, and offered a new assignyour next job. ment in a campaign reawakened from years ago. When he

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DESIGN ISSUES

bag, I didn ' t borrow this style last week, I evolved into agencies willing to take a look. It wasn't terribly efficient, this style. I am this style. What's being taken from me is but occasionally a job would come through. One 's career me.

I wonder if these imitators understand how personal grew by having work published, continuing to show the an affront that really is." book, doing some mailings and by word of mouth. With the advent of directory advertising in the early '80s it Guy Billout, whose brilliant concepts and delicate airbrush became easier to promote work by buying ads in these paintings are well known, has been beset with a number "Yellow Pages" of illustration. This had a profound effect of successful stylistic imitators. I contacted Guy to ask him on the way work was bought and sold. Instead of being a about this. Although he felt that "no one can steal his conbusiness where long-term relationships were established, cepts," he expressed regret and resignation, as if it were the whole trend in illustration moved toward a " wrist-forsomething one had to put up with, like a chronic bad back. hire" philosophy, working on a project-by-project basis. I Guy relayed an anecdote: He had recently completed a first advertised in The American Showcase of Illustration campaign for a bank, consisting of several drawings to be in Volume 4 in 1980. There were about 60 of us in there. used in newspaper ads. Through an unfortunate set of Since then, Showcase's illustration coincidences, a competitor of Guy's books have split into two sections due who works in almost the same style had to sheer weight, and it currently displays done a similar campaign for another the work of some 1,000 illustrators. bank. The ads appeared in the same RECENT TIMES Another 600 or so advertise in the publications. Guy's client called him , National Workbook, and hundreds more convinced that Guy had in fact done HAVE SHOWN AN APP ALLING in the Guild ' s Directory of Illustration , both campaigns for two competitive Creative Illustration Book, RSVP and clients at the same time. After explainTREND IN THE BLATANT other self-promotion books. At this ing the situation, Guy contacted the other artist and asked him to make point, if you even think you can draw COPYING OF OTHER DESIGNERS' an effort to sign his work more promior paint, you just get hold of a "style," nently in the future, so that, at the least, borrow some money for a directory AND ILLUSTRATORS' it would not be confused with Guy's. ad, get a phone, a fax and a Federal Express number, and voila: you ' re Imitators could not succeed without "TRADEMARK" STYLES, AND ready to go out and underbid your buyers. After all, it's a capitalist next assignment. economy, it's apparently legal and it's ORIGINAL WORK. business: art directors' jobs depend Stylistic Influences upon solving a given problem, usually The line between influence and plagiarwithin a given budget. As distasteful ism is a difficult one to define , and as it is, most illustrators have resigned illustrators and designers have always themselves to accepting copiers as profoundly influenced one another's work. As is evident in an unfortunate part of becoming successful. Brad Holland, Steven Heller and Julie Lasky 's excellent book, Borrowed who developed what was perhaps the most imitated style Design, recent times have shown an appalling trend in the in recent illustration history, wrote that he must have blatant copying of other designers ' and illustrators ' "tradeunwittingly taken part in a sperm cloning experiment at mark" styles, and original work. The legal remedies are Art Center in Pasadena. But when teachers advocate the scant and expensive, as shown by Charles Saxon 's unsucpromotion of stylistic rip-offs of living artists as a method cessful pursuit of another artist he believed was imitating of getting started in the business, it's time for illustration his style unfairly. The imitators are displaying at least to take a good look at itself. one unique talent: the amazing ability to rationalize their The expanding use of digital recording and manipulation unethical behavior. of art will present a new challenge that illustrators (and the Mike Lester is a humorous illustrator working in Georgia. laws that protect all artists) will soon face. The duplication There are now four or five illustrators earning a living doing of parts of portfolios , sketches and finished art is only a Mike Lester. He sees his figures from political cartoons , mouse-click away. A current practice in advertising is the ads and editorial work reappearing all around the country use of images from artists' and photographers' portfolios on a regular basis-done by other illustrators. Mike is and reels for manipulation on digital equipment to create beside himself over it: "I can't help thinking, every time comp presentations. Often the artists' and photographers' I see one of these other illustrations, that 's a job I could work is duplicated, flopped, cropped, realigned and have done. That's my kids' college education printed recolored, to be used as a basis for a new image, with over there, and here's my retirement plan printed here." neither credit nor compensation given. Potentially, entire Mike goes on to add, "I didn ' t find this style in a shopping CD-ROM libraries of "clip art" or stock images, will soon J98

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be made from any sketch or finished art, any portfolio, corporations, textile manufacturers and corporate art any annual, any directory ... any picture. With some slight departments. These companies have plenty of other costs altering (enough to make it quasi-legal) the images will be to meet: paper, printing, union labor, office and factory available for reuse for any purpose. Tom Cushwa is an space, taxes, professional salaries ... but how many of these illustrator who specializes in images created on the Macother costs have gone down since 1985? As provocative intosh. Tom and I spoke about illustration's future in the as these figures were, it's interesting that not one of the face of the emerging digital technology. He said, "The illustrators with whom I spoke had ever stopped to compute overall trend doesn't look good. The possibilities even exist how much they really make. for illustration to follow the path of typography. Anyone Reasonable and Customary Pricing who can afford the technology, whether he or she has art I got a call from an art buyer at a large ad agency to bid on directing skills or not, can manipulate and alter existing a project for the federal government. The buyer and I disimagery. Although I doubt illustrators will ever be entirely cussed the project, and I faxed my bid. Afterward, I asked replaced, the broad-based market for illustration may erode. the buyer who else was up for the job.

That pattern is manifesting itself already In this case, I knew both illustrators' in dwindling budgets, as the number work.

Later, I learned the project had of jobs available dries up while the been awarded to a lower bid. It had marketplace is flooded with 'talent."' turned out that my bid of approximately ILLUSTRATORS ARE Illustrators as a whole have already $6,500 was in the middle, with the shown they are ill-equipped to deal highest bid being several thousand GOING TO FIND THE TASK with existing copyright issues. These dollars more.

The contract had been illustrators are going to find the task of awarded for under $2,000.

I was OF ADDRESSING AUTHORSHIP addressing authorship rights, contracts She shocked and so was the art buyer. and pricing structures in the coming told me, "We were amazed at the low RIGHTS , CONTRACTS AND digital era overwhelming indeed. bid. We had estimated the job at around The Finances of Illustration $5,500, but our client's rules force us PRICING STRUCTURES to take the low bid, even though that How much money do illustrators really illustrator's style wasn't our first IN THE COMING DIGITAL ERA make? Several illustrators were asked choice. Your colleagues are really hurtto be candid about their finances, and ing themselves." She told me that the OVERWHELMING. to analyze their billings and tax returns agency was fully ready, willing and for the last five years. They figured out able to spend $5,500 for the assigntheir studio rent, commissions to agents ment, but the bidder had simply not (if they had them), and other business asked for it. In this case the illustrator's costs such as advertising, direct mail, bid was under one-third of what the client was willing to shipping, art supplies, assistants, etc. They calculated pay ... and the bid was prepared by the artist's agent. how much they had paid in taxes, medical insurance and A month later, up for another assignment, I was again pension plans (in some cases). After averaging the results, I under-bid by the same artist's representative, this time for discovered that the illustrators' final take-home pay com15% of my bid price-not 15% less, 15% of. The same prised about 25% of their total billings. The average time thing had happened, and the rep had taken about seven in the profession was twelve years. They billed an average thousand dollar bills from the two jobs, shredded them of $95,000, paid $40,000 in office expenses, $5,000 in up into little pieces, and thrown the money out the window, medical insurance, another $20,000 in Federal and local just because she didn't ask for it. taxes, a few put about $5,000 away toward pensions, and they ended up with an average take-home pay of about An owner of a design firm told me, "We had to commission $25,000. If you divide that by the average of 60 hours per an illustration for a brochure. We estimated about $3,000 week reported, over 49 working weeks in the year, you end for the job. My assistant was about to call a well known up with a take-home salary of $510 per week and $8.50 per artist's representative to commission one of her artists, hour. We discovered, on average, that their total billings and she asked me how much to offer. I told her, 'Cut the had stayed about flat, or decreased slightly, since 1985, budget in half and see what she says.' My assistant offered and some showed dramatic decreases in the past eight years. the agent $1,500, and she accepted it immediately, withMost of them reported billings staying relatively even out question. It was unbelievable ... we're talking about a because of longer hours worked. More jobs were delivered big-time New York City rep here. I mean, I'm in business for smaller fees per job. These fees were paid by ad to take care of my client, but I couldn't help wondering: agencies, design studios, magazines, book publishers, who's this agent taking care of?" Perhaps one illustrator C 0 M M U N I C A T I 0 N

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has a rocket-fast style, or another doesn't have much overhead or another needs any job at all in order to pay for brain surgery, who knows? I don't mind losing a job to a lower bidder-it's a competitive business, and the rules of the marketplace apply. But I'm very concerned about bids and estimates prepared by professionals who aren't armed with adequate information, don't know how to negotiate prices and take no steps to evaluate contracts and terms for assignments. I do mind having the precedent set that that's the price illustration goes for. Those poorly prepared bids will stand as the "price to pay" and "what the market will bear" for some time to come, and we will all lose as a result.

of that change has been a refusal by the illustrators themselves to accept those terms.

I once served on one of the Guild ' s arbitration panels. The illustrator would describe what had happened, and we would contact the client for their version of events. Of course, there were some clients using unethical practices, but I began to see that most of the conflicts were mi sunderstandings that could have been prevented had either party taken the time in advance to establish a simple agreement in writing. One illustrator complained bitterly about a low fee for a job, but later admitted that, in an attempt to appear "easy to work with," he had never asked what the fee was before the job was delivered.

Time and again I've heard illustrators express dismay upon discovering that one of their colleagues got paid more for a similar job from the same client. "How did you do it?"

MANY ILLUSTRATORS they ask. The response I've usually heard is, "I asked for it." Obviously, it's HA VE SHOWN AN difficult to pinpoint whether under-bidding comes from ignorance, desperation, AMAZING TENACITY IN differences in style or just plain capitalist competitiveness. But one thing is RESISTING THE certain-when jobs are routinely underbid by 50% of what clients are willing SIMPLEST STEPS TO IMPROVE to pay, someone needs to do a little homework.

Another humorous illustrator, H.B. Lewis , discussed difficulties he had negotiating a significant contract with a publisher. He was having trouble making amendments to the contract because a number of illustrators , including several "top guns," had already signed without complaint. He said, "This contract has serious problems with it that are not going to be evident if you don ' t read and understand it. I'm bearing the burden of ignorance from the other illustrators who came before me and THEIR OWN LOTS , signed without question. It ' s exasperatIn the '80s an effort was made by the ing because there are aspects to these Graphic Artists Guild to survey illustraAND THE RESULTS ARE agreements that are unnecessary and tion prices from regular editorial even outrageous. No one who knows contributors to the New York Times.

CAUSING ALL OF US GRIEF. about contracts should have signed The Guild published the results of that these agreements as they ' re written, survey in a newsletter which was disbut now, I'm stuck with the precedent; tributed to several thousand artists. The I'm the 'difficult' illustrator, I end up disparities in pay showed some artists looking like the bad guy." being paid $1,000 for jobs being done by other artists for as I talked to an art director at a textbook publishing house little as $150. Even allowing for other factors, the variances who told me that she struggles constantly to find illustrators indicated a failure on the part of many of the illustrators to fulfill her huge catalog of titles. Her difficulty comes to negotiate for more reasonable pay. Within a short time in finding talented people willing to sign work for hire of the publication of the reported fees, the fees paid by the contracts (which effectively waive any rights of authorship Times improved. to the work) and to work for extremely low fees. She feel s Standardized vs. the "Maverick" Image frustrated by her managers ' refusal to compromise on the work for hire issue, and their failure to acknowledge the It's usually an accepted fact on most free-lance commissions loss in quality , but the bottom line is: Someone is doing that the original art work is purchased separately from the the work, because someone is signing the contracts. reproduction rights. Along with that, most free-lance illustrators (though not all) refuse to go along with unwarranted Unlike the Screen Actors Guild, Actors Equity and a work for hire contracts. With the exception of some specific number of other creative "free-lance groups " that have industries (such as textbook publishing and animation) these become organized and quite powerful within their industries, contracts are rarely used, and if they are attempted to be there exists no graphic arts organization with the power to used, they are rarely signed. These terms are generally taken back up established accepted guidelines for work. Extrafor granted by most illustrators, and by the clients themordinary efforts on behalf of the Graphic Artists Guild to selves. However, this was not the case ten or fifteen years bargain collectively have met with some results, but in my ago, and much of that change is owed to efforts by the opinion, this failure is directly attributable to a reluctance on the part of the artists themselves to become part of any Graphic Artists Guild to educate artists. But the substance

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organized group or to agree on a set of standards for business practices.

My clients have expressed shock and dismay about illustrators' unprofessional approach to matters of business. I think many art directors feel caught in the middle, having an ethical obligation to benefit their own company or client by getting the best deal possible, and at the same time wanting an artist to be paid fairly and to be content in accepting an assignment. In addition, they've told me that a lack of professionalism in business dealings raises concerns about an illustrator's ability to take direction, work with a client, deliver work to specifications and meet deadlines.

It's as if artists believe that the art itself is threatened by the notion of standards of profes ionalism. Illustration has existed as long as artists have been paid to solve other people's needs to communicate, and has thrived within the United States under very similar circumstances for over a century now. Yet throughout this time artists have not come to agreement on a standardized set of rules as to how that transaction should be practiced. The Joint Ethics Committee's "Code of Fair Practice" is the closest thing we have to a set of guidelines, and I'd guess that fourfifths of the practicing illustrators today are unaware of its existence.

its size. However, at times the results have been beyond our worst expectations. We've tried to evaluate the survey's structure, and have made efforts to streamline it to improve the number and quality of responses. However, when colleagues call to discuss business I'm always amazed by the number of them who admit they've never completed and returned the surveys, simply because "they didn't have the time." These same folks are usually calling to complainabout a poor budget on their most recent job.

In the midst of the current economic climate, what can illustrators and agents do to help themselves? Network, network and network. This is by far the most important step you can take in improving your knowledge of the business, and the quality of your information. Invite some of your colleagues over to your studio for a round table discussion. Call your competition on the phone and get to know them-you YOUR COMPETITION can chat while you paint. Your competition can actually be some of your best CAN ACTUALLY BE SOME OF allies, provided you all lay some ground rules to avoid conflicts of YOUR BEST ALLIES, interest. Use local arts organizations as a forum, if you like, for a regular PROVIDED YOU ALL LAY SOME gathering of professionals who are focused on the same problems you face.

GROUND RULES TO A VOID

Study: Understand that you are running a business. Expand your education CONFLICTS OF INTEREST. about the business aspects of your profession. Take classes from the Graphic We work in a hermit's profession: most Artists Guild, at adult education departfree-lance illustrators function like ments of your local art school and at moles. We occasionally pop our heads exhibits and trade shows. Attend semiout of the ground, see what's going on nars, panel discussions and workshops and disappear back down to continue on with the hard that cover issues you know you need to work on. work. This results in business decisions being made in the Create a business plan: Write down your goals, both dark, without advice or the benefit of partners, mentors, financial and artistic, for the next five years, and create a colleagues and the constant networking that goes on in work list of ideas to help you implement that plan. Create the workplace. It's worth noting that when prisons are a calendar and forecast of your work hours on a chalk built, they're designed so that the prisoners can't see board, and build the implementation of your plan into your each other from their individual cells. upcoming schedule.

Some years ago, in response to concerns over the chaos

created by a lack of understanding of pricing, ethics and contracts, a number of illustrators within the Graphic Artists Guild began work on an informal pamphlet based on surveys of pricing and practices. The pamphlet expanded until The Pricing and Ethical Guidelines now represents an industrywide "bible" for business practices, contracts and prices.

It's far from perfect, and provokes as much complaint as praise, but it's the best we've got for now. As one of the editors of the Guidelines, I've spent considerable time helping to prepare the surveys themselves. In direct mail one expects a low percentage of response, and a survey of this kind, given its requirements, can be quite daunting in

Bid smart: Base your estimates on careful thought and consideration. Estimate each job from several points of viewcreate one estimate based on an hourly or daily rate you need to charge, one based strictly on usage for the illustration( s), and one based on your past billing experience.

Adjust your numbers for extenuating circumstances such as complexity and deadlines. Consider a job's showcase or portfolio value, although you should keep in mind one illustrator's words: You can die from exposure. Use these as rough guidelines for establishing a competitive price for your next job. Run the numbers by some other professionals whose judgment you trust.

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Don't bid in haste: Clients understand if you need some time, even a few minutes, to reflect on an offer or an estimate. Get off the phone, do some calculations, call some colleagues if you 're in the dark about the offer and then contact your client with an intelligent, carefully thought out response.

don't have to lose a job to improve one, but you'll never improve one if you don't question what you 're offered.

Answer the survey: When the Guild sends you the next survey for illustration prices, fill it out and send it back. Not only will you help make the prices and practices reported more fair and accurate, you'll learn something. The survey itself will show you the structure in which usage and pricing are linked. There are questions the survey asks of you that you may not have asked yourself, and you '11 discover answers you should know. If you 're not a member of the Guild, or have not received a survey in the past, simply call the Guild in New York, (212) 463-7730, and ask to be put on the list of illustrators to be sent the survey. (When you call, plea e tell the Guild that you 're responding to this article.)

Put it in writing: Illustrators should use a written letter of agreement, in advance, on almost every commission. This kind of paperwork is a pain, but it will prevent countless problems later on, and thus can help ensure smooth, trouble free relationships with your clients. You must be familiar enough with copyright law and customary practices to be able to modify your own letters, as well as clients' purchase orders and contracts, on short notice, if necessary . A word processor or computer is invaluab le in making up customized letters of agreement and ONE OF THE FEW invoices tailored to fit each job. With the down-scaling of prices across the WEAPONS YOU HA VE IN YOUR board in the computer industry, there is no justification (other than stubbornARSENAL IS YOUR ABILITY ness) for any professional running a studio without these tools .. . and the TO NEGOTIATE TO profit you make from bidding intelligently could pay for a new Macintosh CHANGE PRICES AND PRACTICES in your office on the first day you own it. Consult the Pricing and Ethical THAT HURT YOU AND ALL Guidelines for sample contract forms .

Work together: Get active in any local group working to improve the arts. Find a committee, chapter or area of interest, and get involved: the rewards will far outweigh the time invested. If you don't have such a group where you are, start one. It's as simple as calling six of your colleagues and inviting them over for pizza.

I have one acquaintance who loves to kvetch. She complains constantly about her marriage, her job, her health, her whole life. After enough of these calls I realized that this person, for whatever reason, is unwilling to make an effort to change herself or her circumstances.

At this point, I just want her to fix it, or stop calling me to complain about it.

ILLUSTRATORS. Read: Don't just look up "magic numbers" in the Pricing and Ethical Guidelines pricing charts, they're misleading if taken out of context. You should read the book. Another terrific book on contracts and copyright is Tad Crawford's Legal I think illustration has reached the same impasse. Our hardGuide for the Visual Artist (Allworth Press). Subscribe to ware store owner, who dove in because he loves nuts and the trade journals that focus on the business of illustration, bolts, now sees things going wrong but can't figure out photography, publishing and advertising. There is also a what to do: he has fewer customers, higher overhead, more flood of new publications and books on running a business taxes, and his profits are slipping out from under him. Illusout of your own home . trators should be learning that the business is not going to Learn to negotiate: Just because you weren't born with fix itself. My colleagues and I are working harder, earning street smarts doesn't mean you 're sentenced to lose for less and we're certainly having less fun. I don't believe that life. Read Getting to Yes, by Roger Fisher and William Ury, of the problems facing free-lance illustrators are of their all and You Can Negotiate Anything, by Herb Cohen. Use a own making . However, I do believe that most illustrators written agenda to manage your negotiations, and keep are prone to the independent enjoyment of their problems. careful notes as the process unfolds. Most importantly, The failure to organize and educate towards solutions to evaluate your past mistakes-they're the best teachers of these problems belongs to illustrators alone. As Abraham all, because they're usually the most expensive lessons Lincoln put it, "A house divided against itself cannot stand." you can buy.

Just say no: Obviously, in times of economic distress, the law of supply and demand is going to rule, and make for some tough decisions. But one of the few weapons you have in your arsenal is your ability to negotiate to change prices and practices that hurt you and all illustrators. You 202

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INFORMATION ON KliK! CONTACT AMERICAN SHOWCASE 915 BROADWAY NEW YORK, NY I 00 I 0 (212) 673-6600 FAX: (212) 673-9795

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LEGAL

AFFAIRS

MICHAL HERON AND DAVID MACTAVISH

BUYER'S GUIDE

T

HE FOLLOWING ARTICLE IS AN EXCERPT of chapter ten from Michal Heron and David MacTavish's book, Pricing Photography, which includes numerous pricing charts.

In the hands of a creative person, buying photography is an art in itself. Matching the right photographer to a project or knowing the best source for a particular style of stock photography results in the brilliant ad campaigns or stunning magazine articles that dazzle us all. It's how reputations are made. The pedestrian way of merely finding a picture, any picture, at the lowest price, usually ends up as a waste of money. A mundane approach brings a mundane result.

Photography is bought by almost everyone from a top art director, photo editor, or art buyer to the greenest assistant or, sometimes, even a secretary.

If you're new to the business, you may not be aware that the term "buying" photography is not accurate but merely the colloquial term used in the industry. Rather than buying photographs, you are actually obtaining a license or grant of use, which allows you to use a specific photograph in a stipulated way.

Having the Information Be armed before starting out, not to vanquish, but to get the most from your photographer. Know what you want and why.

Have courage. If you are down the line of command and don't have access to all the information, insist that your bosses take the time to clarify their needs. After all, mind reading wasn't on your job description. Let them know that you can only get them what they want, if you know what they want. Ask them the same questions that a photographer or stock agent will ask you.

The more you involve the stock agent or photographer in a photo request the better the results will be. They're human, and they're professionals, like you. They enjoy a challenge and they can do much more than merely process pictures. The more information you share with your source, the more creative their suggestions will be. If you , and they, don't understand the purpose of the photo you won ' t be able to find the very best picture for the purpose.

In addition to the specifics, know your priorities for a photograph. It's easy to say the photo has to be brilliant, unique, fresh, exclusive, and cheap. But pie in the sky isn ' t a category so easily filled. Have a realistic view of your priorities before making a photo request or discussing an assignment. Which element is of paramount importance: the graphic impact of the photograph, the emotional content of the photograph, the schedule, the budget, the style, the 206

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freshness of the image?

If you bring in the wrong photo you'll find out fast enough what the art director ' s priorities were.

Be as clear as possible. Give a photographer or stock agent as much information as you have. Holding back seldom pays, and it could waste your time or cost you more later on. Some people hold the misguided notion that you will be taken advantage of if you divulge information. By sharing information you '11 get not only better results from a photographer but probably also get some extra ideas in the bargain.

Stock or Assignment-Choosing What's Best for You Circumstances may dictate which route you'll take when looking for photography. If you need a still life including the logo of your client ' s product, or an executive portrait in front of a newly constructed facility , or a picture story on the newest New Age guru, then you ' ll need to assign the photography. When you need a photograph on a short deadline, or want a generic summer scene in the depths of winter, or have a committee of twelve who must sign off on the picture approval, or want to see a wide variety of creative approaches, then stock is probably the answer.

The choice between assignment and stock is not al ways clear cut and you'll need to weigh many factors , such as: Risk: With stock, there is none. You have it in hand. You get what you see. But an assignment has risk. There can be transportation delays , models who don't perform well , technical mishaps; almost anything can go wrong. Good photographers, however, know how to minimize those risks.

Approval: With stock, everyone knows in advance what the picture looks like, how well it works with the concept and in the layout. An assignment photo can be a pig in a poke. It may not come up to your imagined expectations or it may far exceed expectations when in the hands of a fine photographer.

Schedule: With stock, once you ' ve found it, you ' ve got it.

There are no hold-ups. An assignment handled by a skilled professional will be done on time , but there are sometimes delays, like weather, beyond anyone 's control. They should be factored into any assignment schedule.

Concept: When you are developing an idea you can benefit equally from working with an imaginative ass ignment photographer or a creative stock agent.

Freshness: An assignment will guarantee you a photograph that has never been published before, one that is unique to your project, tailor-made for your use. On an assignment you can take advantage of an exciting creative collaboration

WHAT YOU NEED TO KNOW BEFORE LOOKING FOR PHOTOGRAPHY • Importance of these elements to you : Style. originality, exclusivity.

• Usage/position: Back cover, front cover, interior.

• Market: Define your target aud ience . (MTV generation. boomers. sen iors?)

• Size (how big): Full page, 1/ 4 page .

• Content of photo: Litera l subject mattersuggest the content to illustrate your concept but leave roo m for othe r ideas from the photographer or stock agent.

• Market: Are you trying to emulate or be distinguished from your competitors?

• Duration (for how long): Two years. four?

• Risk- the amount you want to take.

• Budget range .

• Headl ine : Tag line. copy, or caption .

• Importance of the photo to your project.

• Shape : Ho ri zonta l, vertical. square , silh ouette .

• Release needs for property or models : Is it a sensitive issue? Are they necessary for an ad or product endorsement?

• Expectations: Will all of the above achieve your goal?

• Purpose of photo: Should it explain, illuminate. decorate. evoke mood. grab attention. serve as background .

• Content of photo : Your concept.

• Color or black-and-wh ite .

• Film Form at: 35mm. 21/4 , 4 x 5 (consult with photographer).

• Layout or sketch- is one available?

• Schedule: Time available. deadline.

• Usage/ media type : Ad , brochure. magazine , book, billboard.

with the photographer or be the beneficiary of the magical unpredictability that can happen on a shoot, when things work even better than anyone imagined. That' s the upside of risk.

Style: When style is a critical element, art buyers, in general, will search to find an assignment photographer with the right look or graphic approach for the project, then have that photographer craft the concept or subject matter using his or her unique vision. These days you can find a remarkable variety of up-to-date photographic styles in a stock agency. Though for truly fresh work an assignment, with all its risks, should be a strong consideration.

Market: The audience for your photograph may determine whether you choose stock or assignment for the style you need. If the target audience is the MTV generation you may choose an assignment photographer with a leading edge or experimental style, something that has not yet shown up in a stock agency. However, if your audience is the general public, there may be a wide variety of excellent imagery already available in stock.

Exclusivity: Some, but not all, stock agencies have the sophisticated equipment to monitor usage and guarantee exclusivity. Be cautious. If exclusivity is essential, either you will be limited in your choice of agency or may need to assign the photography.

Releases: When setting up an assignment you can specify the release protection you need and make sure the photographer also turns in copies of the appropriate release for each person or any recognizable property in a photograph.

• Insertions (how many times): Six, ten?

• Cost of media buy.

• What do you really want from th is photograph?

• All of this information. clearly articulated, will help you and the photographer or photo agent come up with the best photograph ic solution for you .

Not all stock photos are released. Any reputable stock agency can tell you if a release is on file for a given photograph. They can also advise when a release is needed.

Be sure to ask for a copy of a release, particularly if you intend to use a photograph in a sensitive context, uch as tobacco or alcohol ads, or with implications of health problems or criminal activity. However, a release will not necessarily protect you if there is a derogatory or inflammatory use. For example, use of a released photo of a courtroom scene may or may not be advisable with a magazine article about medical malpractice. It can depend on the implications in the article, the relationship to the photograph, and the wording of the caption. Know the law regarding releases and libel.

Buying Assignment Photography You can increase the likelihood of success on an assignment in dramatic ways if you work with your photographer in a spirit of partnership.

What may sound strange, at first, is that most professional photographers want you, their client, to get a very good deal just as much and perhaps more than they want it for themselves.

The keystone in a creative collaboration is the satisfaction the photographer gets from solving your joint needs, aesthetic and logistical. Carrying off a creative coup is fun. It feels good to do a good job. It feels even better when the person you 're doing it for knows it and appreciates the effort.

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How To Get the Best Deal In Assignments Deals usually mean money. Considering money alone is shortsighted; there are many valuable, intangible extras that add to a "deal." A professional must be measured by what they deliver, not what they cost.

It costs more to patch up a botched job than to do it right the first time.

Time for a war story. A photographer, while courting a new client, learned that they had been getting a great "deal" for several years from another photographer. His work was good and the fee for all rights was really low but. ..

The photographer leaned forward, listening intently. They said there was only one problem, nothing was organized.

Models didn't get paid, releases didn't match the photos , and worst of all, he was late.

When she heard the astoundingly low fee their favored photographer had been charging, our colleague ventured an explanation that one of two possibilities was likely: Either the photographer was a terrible businessman and just didn't realize that he wasn't charging enough money to allow for a professional job, or he was shrewd, but unethical, in accepting a fee he knew to be deficient, then knowingly letting slip the aspects he couldn't afford to handle.

She got the next assignment from these folks , with the fee at a professional level.

When You Have a Tight Budget To get a good financial deal , be clear and be fair. Explain what you need, what your limits are. On the occasions when you really have a tight budget (not the common garden variety "get it as cheap as you can" tight budget) , one with true limitations, let the photographer help you formulate the budget and design the shoot to get the most for the money you have. By suggesting where and how to spend they can help make the most of a lean budget. A photo buyer may actually waste money, or worse, undermine the entire project by unilaterally slashing in the wrong places. Enlist the photographer's expertise. For example, the photographer may advise you that cutting out a stylist won't save enough to be worth the loss of quality , but that an extra set construction expense could be avoided by shooting from a different angle.

Getting the Most For Your Money Give support and appreciation. A photographer will walk across hot coals (if that should be of use to you) for a client who is constructive in criticism, unstinting in praise, and has a good sense of humor!

Professional photographers will give you an honorable job for the fee you pay, but often you can get much more than your money's worth from a photographer by treating them fairly and involving them in the process.

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The extras a photographer can give are sometime imply an intangible pu hing of the limits. A more concrete instance is when they continue to work pa t the limits of the assignment. Consider the tired photographer heading to the airport, the morning after a grueling two-day corporate shoot, who looks back and ees spectacular light on the facility and the wetlands nearby, stops , gets some terrific shots , and has to hustle to make the plane.

Technically the photos are not part of the assignment, but our well-treated photographer include them in the edit.

The wetlands pictures are a bonus to the corporation , and the result of having a fair and open relationship with the photographer.

In a few cases photographers have found it a double-edged sword to offer something extra. They have had clients tell them not to waste film on a subject they didn ' t request.

That certainly appears to be a wasteful qua hing of creative initiative, but if you don ' t want anything beyond the limits of the assignment, make that clear to your photographer in the beginning.

On the other side of the coin, if you have a photographer who is giving more than full measure, be careful. Don ' t drive them to the point of exhaustion. Over using their good will and obsessive dedication to work can lead to a point of diminishing return.

How Do I Protect My Investment?

Some buyers attempt to buy all rights to an assignment, or many more rights than they need, out of fear that photos from their assignment will show up in a competitor ' materials. That's easy to avoid by working with the photographer to develop protective restrictions and time limits, perhaps like paying for exclusive usage for an appropriate time period. It shouldn ' t come as a shock to you to know that photographers want your assignment to be protected as much as you do.

By investing in an assignment instead of using available stock you are making the opportunity for them to create new work. Being a professional means more than talent and skill , it means ethical and honorable dealings as well.

Protecting your assignment is not only the hallmark of a professional, it's enlightened self-interest. Professionals certainly don ' t want to jeopardize the faith you have in the assignment process or in them. It's also why professionals must insist on a ufficient fee to cover all the extra protection that you have a right to expect.

What Do I Get For My Money ?

Or, " If I pay for it why don ' t I own everything ?"

On an assignment you get whatever rights , time limits, and protective restrictions you have negotiated with the photographer. It' s dangerous to make ass umptions, on either side, about what rights are being granted or obtained.

EVALUATING

AN

• In the process of hiring an assignment photographer portfolio samp les are only the fi rst step, and price shouldn't be the second . The professional ism of the person chosen to handle your work will be the key to the success of a project.

• Use carefu l research , astute observation, an d assessment to make sure you select based on the fol lowing abilities : • Creativity: Judge by portfol io samples and promotion pieces and also by imag ination shown in discuss ions about a potential assignment.

• Techn ica l ability: Judge by portfolio samples and promotion pieces and by

ASSIGNMENT techn ical solutions and suggestions in discussions about problems of a shoot.

• Equipment available: Ask about the range of equ ipment a photographer uses and has available .

• Professional bus iness practices: Judge by use of detailed forms and paperwork, knowledge of photograph ic law. model releases. property releases.

• Problem solving/logistical planning : Finding locations, set design , transporta tion , interpreters.

• Management: Of assistants, stylist and of budget and schedule .

You and the photographer must have a clear agreement and it should be in writing.

But Still, If I Pay For It Why Don't I Own It? Just because you paid for someone's time doesn't necessarily mean you own them. When you rent a car you don't expect to own it. So, too, with a photograph, which is comprised of a bundle of rights, you are granted the ones you need, for as long as you need them.

"But I pay all the expenses."

Yes, and you get extra benefits for that investment which include first use, time limit exclusivity, and protection from competition, benefits that may not come with stock.

Buying Stock Photography Buying rights to stock photography can be relatively straightforward when you work with the many reputable stock agencies and stock photographers. But there are ways to increase the efficacy of your stock buying, and there are pitfalls to be avoided.

For this discussion, references to stock "sources" will be assumed to include photographers selling stock as well as stock agencies. Though sometimes on a different scale, individual photographers offer the same services and bear many of the same costs as a stock agency, so the comments in this chapter apply equally to both.

PHOTOGRAPHER • Intell igence : Being informed on issues.

• Dependability: Are there many repeat clients in the portfolio?

• Good nature/pleasant manner: Will this person represent you and your client well. be easy to work with on a job?

• Energy/enthusiasm : Keep your ear tuned to recognize genuine excitement about your project.

• If all of these attributes are positive, then your money is well spent with your chosen photographer.

privilege of viewing a selection, this fee is a token and covers only a very small portion of the cost of providing a stock submission. If you have no choice but to search for ideas, say so. Let them know you 're not sure what you need. They'll help.

• Don't set unrealistic or unnecessarily tight deadlines. We all know what happens when "wolf' is cried too often.

• Don't hold photographs longer than needed, or without notifying the source. An agency doesn't like to charge holding fees but what's not in the file can't be sold. So return immediately what you don't need. Speedy first returns will endear you to a stock source and ensure great service the next time you have an emergency.

• Give preference to the sources that are most responsive.

A stock agent doesn't assume that they are your only source, but in the event that you have a favorite source or two (whether photographer or agency), let them know when you are giving them a first crack at your request.

As with assignments, good deals in stock don't always mean money. Good service can be more valuable than a low reproduction fee when you 're in a tight spot and the agent you've built a relationship with comes through for you.

Getting the Most For Your Money In Stock

Although it may not seem to be necessary to say, establish a good working relationship with your stock sources. Treat them, the photographs, and the service they offer with respect and you'll reap great rewards. You can build goodwill with an agency if you:

You are getting the best bargain in the business even if you pay the top fee currently charged by a source. That's because stock reproduction fees, as well as assignment fees, have lagged way behind the dramatic increases in photography costs over the past fifteen to twenty years.

Fees have barely changed for over a decade while costs to produce photography have soared. Stock already gives you risk-free photography at an excellent price.

• Don't shop just for the sake of it. Be serious about your requests. Though you may pay a research fee for the

OK, fine, but now how can I save money? One way is to negotiate at the outset all the uses you envision over a

How To Get the Best Deal In Stock

C 0 M M U N I C A T I 0 N

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LEGAL AFFAIRS

period of time. An agency is usually more inclined to give a discount when you buy a package of rights.

That brings us to the sticky subject of volume discounts.

It makes sense that a source will offer a break when you u e many photographs from their collection.

For an agency , discounts can be problematic. They want to give some benefit to a client who buys a lot, but can't do it at the expense of the individual photographers who may only have one photo included in a deal. They must provide their contributing photographers sufficient income to allow reinvestment in new work or else the flow of quality photography you demand will dry up.

What Do I Get For My Money?

You get an extraordinary selection of excellent images by the world's leading photographers, immediately. Often overnight you' 11 have top quality photographs on your light box, ready for review.

In order to offer the immediate service you need on a deadline, stock agencies and stock photographers must maintain sophisticated and expensive computer tracking systems. They keep records on exclusivity, model release files, and caption information.

With some agencies you can negotiate exclusivity on specific photographs for an extra fee.

Should I Pay An Individual Photographer Full Fee? Yes. After all, they only get half from their agency anyway.

When you pay a stock fee it covers your usage whether for a magazine article, a point of purchase ad, or a greeting card. Your usage is no different when you get the photograph from an individual photographer.

You are also getting backup services from the source providing those images. It must not be assumed that a photographer can afford to charge less since they are providing not only the same usage rights but also most of the same service an agency would for the image you need.

Individual stock photographers also have overhead and service costs to maintain filing systems, process your ubmissions, and cover promotion and advertising in source books and catalogs. Many have also invested in high-end computer systems with imaging capabilities.

To compete with a stock agency for your business, today ' s individual stock photographers must offer a level of quality and service that is very expensive and requires full fee to maintain.

210

by a client or done on their own time. The non employee photographer own the copyright from the moment the shutter clicks, and that copyright remains with the photographer unless it is transferred in writing, usually called a licen e to reproduce.

Note: an idea cannot be copyrighted. Only the tangible expression of that idea, the resulting photograph (or writing, sculpture, illustration , etc.) , can be copyrighted.

Copyright infringement- I have thi s picture , can you shoot one like it?

Imagine this situation: The art director at your agency comes to you with a photograph clipped out of a magazine and says: "This is an interesting shot, it' 11 work for our XZY campaign. Get Charlie Cheap to shoot it for us. Do the same thing, just change it around a bit." Any problems ?

Yes. You would probably be guilty of infringement of copyright. It's against the law to take anything that you don't own the rights to and copy it, even with ome modification. It ' s not always clear cut when an infringement has occurred, but "substantially similar" is the phrase in the law and a measuring stick for a judge or jury to use when deciding if infringement has occurred. There are many articles in the trade press about copyright infringement. It's smart to stay informed and to know the current legal cases.

The way out, instead of copying, is to find the person who took the shot you like so much and negotiate with them for the rights needed on your campaign. If the photograph is not available due to competitive restriction , talk with the photographer of the original shot (you liked their lighting, composition , creative approach , right?) about creating a different photograph to suit your need . You ' 11 benefit by getting a fresh photograph and be well clear of dangerous infringement waters as well.

Digital Infringements Current and imminent computer capabilities make merging many photographs into a seamless new image a reality, and make infringement difficult to detect. There is no body of ca e law regarding this new type of potential abu e of copyright. What' s important to understand , especially for newcomers to the field , is that merging parts of images into a new whole without the permission of all copyright owners is illegal , no matter how difficult to detect.

Work For Hire-Why You Don't Really Need It.

Copyright

It costs too much . That' s the number one reason. You are, in effect, buying the whole pie when you may need only a few slices.

Copyright is the right to control all uses of the image.

Congress , through the Federal Copyright Law , gave (independent, non employee) creators the control of the tangible results of their efforts, whether commissioned

Also , it discourages the very best photographers from working with you. A creative, innovative photographer has enough respect for their work to want to keep the copyright. Just think, by asking for work for hire, you, as the

P H 0 T 0 G R A P H Y

A

UAL

1 993

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LEGAL AFFAIRS

Discount Prices for Additional Copies of the 1993 Photography Annual IF YOU WOULD LIKE COPIES FOR OTHERS IN YOUR FIRM , OR GIFTS FOR CLIENTS , FRIE DS OR MEMBERS OF YOUR FAMILY THAT ARE ' T QUITE SURE WHAT YOU DO , HERE ' S A PRICE

client, become the creator as if the photographer never existed. The photographer loses all control over the image for all time , including the ability to show the work in a portfolio, gallery show , or retrospective. In actuality , you really don't need to own everything.

Cover Price

$14Each

3 TO 5 A NUALS

$ 12 EACH

The be t-and least expensive-way to get the protection that some clients believe they achieve with work for hire is to negotiate up front exactly what they need, think they might need or even suspect they might need later. The wise negotiator doesn't try to control or own everything through intimidation (in this case, "do work for hire, or you don ' t get the job"), rather they try to achieve a mutually agreeable re olution.

6 TO 11 A NUALS

$ 1 l EACH

Why Do Photographers Charge So Much?

12 TO 23 ANNUALS

$ 10 EACH

24 TO 99 A

$9 EACH

SCHEDULE FOR ADDITIO AL A

UALS.

THESE PRICES ONLY APPLY TO THE 1993 PHOTOGRAPHY AND THE 1993 ILLUSTRATION ANNUALS

UALS

$8 EACH

100 OR MORE A NUALS

To Order: FILL OUT THE INFORMATION BELOW AND SEND THIS PAGE OR A FACSIMILE WITH PAYMENT TO COMMUNICATION ARTS P.O. BOX 10300, PALO ALTO, CA 94306-0807

There is a perception among some photo buyers that "photographers charge a fortune" and that they must therefore make a fortune.

At first glance, from the point of view of a salaried employee, some confu ion about costs and earnings is understandable. It can look a if a photographer earns more in one day than the art buyer does in a week. If you multiply that by fifty weeks a year the result appears to be the wealth of Croesus.

COMPANY

Unfortunately, the photographer does not earn a "salary" of that level. Experienced buyers know that a photographer' creative fee covers much more than their time.

In addition to talent, a photographer is expected by you, the client, to have available sophisticated equipment which costs thousands of dollars to purchase and maintain, just to be ready for the day you call. Photography fees reflect the cost of being in bu iness, not the photographer's salary.

ADDRESS

Building a Relationship

For Faster Service: CALL (800) 258-9111 (MO DAY- FRIDAY : 8:30 A.M. -5 :00 PST) OR FAX YOUR VISA OR MASTERCARD

UMBER TO (415) 326- 1648

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D MY CHECK IS ENCLOSED

At the very least, a professional relationship hould be productive and cordial. In the best of situation , photographers and clients become friends, people of like interests working together to solve a creative problem and enjoying the process.

Professionalism on both sides is a given. Loyalty , which is the outcome of understanding, mutual re pect and fair dealings, may be the most valuable ingredient to foster in the relationship between photographer and client.

D CHARGE MY CREDIT CARD

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212

P H 0 T 0 G R A P H Y

A

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1993

Pricing Photography may be ordered from Allworth Press , 10 East 23rd Street, New York, New York 10010. The 128-page book is $19.95. Add $3 for shipping and handling. New York residents should also add sales tax.

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A D VE R TISING

NORMAN GREY

DON' T TEACH WHEN You RETIRE 0 IT NOW. DON'T WAIT. TEACH WHILE you're working. If you've been in advertising for even just a year, you know that you have to travel at the peed of light just to stay current.

or she has to lower their expectations. Or go invest more money to improve their samples. Only then will they possibly be able to apply for the job they've already spent a fortune trying to get.

Whenever executives discu s the abilities of entry level people , they almost always lament the lack of training and or the lack of relevance in the books of these young hopeful .

And it hurts the kids. Their folks. Maybe even their significant other, because it sets back the timetable for a family, a home, whatever.

D

Our industry can no longer afford to train. Our colleges and universities do that for us. Yet, so many professionals complain about the lack of quality of the product.

That 's why you're needed. You're up to speed.

If Not You, Who? If Not Now, When?

Everyone is busy. Too busy. Staffs are understaffed. Clients demand more. There are the normal pressures of just doing the necessities of life. Buying food. Inventing a way to get your car repaired and get to work and then back to your car. Doing laundry and finding the time to manage a little league team. Or just a simple pleasure of reading a book, the paper, or a letter from a friend.

God knows, we can teach the Japanese how to be overworked.

But if you have any desire to teach, do it now. For precisely the reason that you are at this time vibrant, alive, knowledgeable and in the thick of it.

If You Want Something Done, Ask a Busy Person.

Most of us have heard that one.

It's based on one of Newton 's laws. A body at rest tends to stay at rest. A body in motion ... doesn ' t need a wake up call.

If you ' re busy, you're moving. You ' re reading the right

books. Magazines. Strategy statements . Going to focus groups. The movies. Concepting. Producing. You're aware of who and what is hot.

If you wait until you retire to become a teacher, well you

may not care that Adobe just came out with Illustrator 12.4. Or, whether you care or not, it could be that you're no longer on the mailing list.

I've looked at the portfolios of kids who've put in a lot of money and time to graduate with a BA or a BFA and I've asked them if they have ever read CA or looked at The One Show Annual. Often I get that stare. That unfortunate blank look that usually comes with a book that isn't going to get the bearer a job.

It hurts.

And it hurts our industry . If ad agencies, design firms , photographers, retouchers, printers, engravers, production and post-production companies can't afford the time and money to train, then our schools have to. That means our schools need first-class teachers. Now. Baseball and hockey have well-developed farm systems where their future stars are nurtured.

Football and basketball, for the most part, depend on our colleges and universities. Advertising, design and all the ancillary and support services are more closely related to the NFL and the NBA than the NHL and MLB. y OU can be a big [C 0

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2 1 8]

"What can I say?

I sent my son there.

His book needed a little more refinement. To me the school is a rarity.

It really prepares kids for entry level positions.

Many students go on to do great things."

Harry Jacobs The Martin Agency

PORTFOLIO CENTER Recommended by the people you want to work for School for Art Direction, Copywriting, Photography, Design & lllustratior 1.800.255 .3169 125 Bennett St., NW, Atlanta, Ga 30309 C 1992 Jason Peterson , Paula Raymond- AO , Scott Wiid, Matt Petenon- CW

It hurts me to have to be the one to tell the person that he COMMUNICATION

ARTS

215

Tim Bieber

Tim Bieber Film &Print

(312) 463-3590

Chicago: Joel Harlib (312) 329-1370

New York:

Michael Ash (212) 807-6286

Los Angeles (Film): Dorothea Poloynis (818) 782-2279

ADVERTISING

help right now by introducing an advertising design program, photography or illustration program to a school that doesn't have one.

Or maybe there's a teacher who's alone in his/her department. Perhaps they need the help of a working pro.

The people you' re teaching want to hear how you got where you are. What twists and turns you went through.

What your day is like. What they can expect when they get out there.

You might even be the person who empowers a burnedout teacher to operate at the speed of enlightenment again.

They appreciate it most when you're honest about yourself and their work.

You could be responsible for rejuvenating an entire curriculum by letting them tap into your energy and expertise.

That's all it takes. You being you. And having fun in the process.

There may be other benefits to teaching while you' re still working. You may find that very talented assistant your department needs but can't seem to locate because, "Who the ____ is training these kids? Dammit!"

But the Field Is Already Overcrowded.

"Wait, I Don't Know How to Teach Advertising."

There was a time, not all that long ago, when the average agency had ten people employed for every million dollars in billings. Now it's down to one or two people per million. And in some cases, a half person per million.

When approached to teach for the first time, most people think they're not up to the job.

Illustrators and photographers don't get jobs. They have to free-lance from the day they graduate.

The belief is, "After I talk for an hour, I'll run out of things to say. Then what do I do?"

There are no longer huge graphic design studios or even large design departments in companies.

Another thought that jumps to mind is, "I can't be so fast on my feet that I can correct mistakes in front of a whole class. I need time to think. And when am I supposed to find the time to fix so many concepts? I'm too busy doing my real work."

In other words, there are more people than jobs.

The Answer ls, Don't Work So Hard.

The class will contribute as much as you let them. Let them contribute a lot. Students generally have good instincts.

You just have to ride herd a little. Keep them from going too far astray. They end up teaching each other. You help when needed.

And you know what? You learn as much or even more than they do.

Let them ask you questions. Show them books, articles, reels. Take them on field trips. Invite guests to tell the class about their experiences. Where is it written that you have to do all the talking?

I'm not trying to tell you to be lazy, or so laid back as to be ineffectual. On the contrary, your students will be so energized and enlivened by dialogue instead of a lecture that the room will usually be humming.

Those Who Can't Do, Teach.

That may be another thought you' re harboring regarding your self image. If that's true, then that's all the more reason why your industry needs you now.

You' re in the business and holding a job. It's proof that you know what you're doing. By helping others learn what you do and how you do it, no one can accuse you of teaching only because you can't do your job.

218

More Than Anything, They Want You.

P H 0 T 0 G R A P H Y

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True.

But I believe we're about to experience a creative revolution that will make the '60s look like a mild correction.

HDTV. Interactive TV. Voice command and handheld computers. Integrated marketing. Billboards with motion.

Five-hundred channels. Pay TV. On-demand programming. In place of broadcasting we'll have narrowcasting.

I read recently that instead of pressing a button to zap commercials, we'll be pressing a button to purposely watch commercials.

It's impossible for anyone to predict the future of advertising. But as long as we' re in a capitalist society offering consumers multiple choices of brands and services, at the very least, we know that advertising will be a part of our lives. Somebody's got to do it. And somebody's got to teach how it's done. Correctly.

With the introduction of the telegraph, it was feared this new method of communication would wipe out jobs. It did. About 40 or 60 Pony Express riders were no longer needed. But within five years or so, the telegraph invented 100,000 new jobs.

We're witnessing the same thing with computers. The United States is becoming the world's number one supplier of information and entertainment.

Done right, advertising is informative, entertaining and rewarding.

Done right, so is teaching.

STEVEN LISKA DESIGNER, LISKA AND ASSOCIATES

"It's not who you know, it's knowing where to find them."

BOOK REVIEWS PROFESSIONAL PHOTOGRAPHER'S SURVIVAL GUIDE

By Charles E. Rotkin Published by Writer's Digest Books 1507 Dana Avenue, Cincinnati, Ohio 45207

Mr. Rotkin 's active career as a professional photographer pans more than fifty years. His work has appeared in many publications through the years including Life, Time, Fortune and Business Week. He was one of the first presidents of the American Society of Magazine Photographers and i a life member of the National Press Photographer's Association. Besides lecturing extensively, Mr. Rotkin also teaches at the International Center of Photography.

In the introduction he writes: "If you are being paid to make or sell a photograph, then do it in a way that will bring credit to you and your colleagues. If you can deliver what is a ked of you on time, in a direct no-nonsense way, treat your colleagues and clients with respect, demand and receive the same respect from them, keep from tripping over your own ego or from getting caught up in phony romanticism or macho complexes, and still produce fine photography, then by definition you are a professional."

Professional Photographer's Survival Guide assumes you know how to take a good photograph; from that premise it goes on to show you step by step how to build a proper portfolio , determine your fees and make your first sale.

You '11 also learn how to market, store, retrieve and resell your photographs again and again. Each chapter in this comprehensive book covers a wide range of information pertaining to almost every aspect of professional photography, such as; Analyzing Specific Markets; Getting the Assignment; Basic Equipment for the Professional; Protecting Yourself and Your Clients; Secondary Uses of Photographs; Electronic Imaging; and, Capitalizing onand Expanding-Your New Reputation. I found the chapter pertaining to Secondary Uses of Photographs especially informative. It covers everything from selling your photographs to newspaper syndicates and magazine news picture agencies, to how to join a stock photo agency. Every chapter also includes revealing interviews with some of the world's top photographers and editors including: editor John Durniak; photographers Arnold Newman, Mary Ellen Mark, Gregory Heisler and the late Berenice Abbott. rnold Drapkin , consulting picture editor for Time magazine writes, "This is the first book that not only addresses the survival problems of the freelance photographer, but also looks at them from the picture user's side of the desk.

P H 0 T 0 G R A P H Y

A

UAL

-Scott Teaford

$16.95

For those of you who want to know what it takes to make it in today ' highly competitive world of professional photography , Professional Photographer's Survival Guide is a must read. Charles Rotkin has written one of the most thoroughly researched books on photography that I've ever seen. It's jammed with information and ideas and obviously written by someone who's been there and back.

220

A must for anyone in the busine s of producing, selling and using photography. " I couldn't agree more.

1993

GRAPHICS MASTER 5

By Dean Phillip Lem Publi shed by Dean Lem Associates, In c.

1526 Pontiu s Avenue, Suite C Los Angeles, California 90025

$74.50

This is the fifth edition, now fully updated to include the massive changes that have occurred in printing production.

In the usual sense, Graphics Master has never been a " book." It is a binder which contains all-you'll-ever-wantto-know about graphic art mechanics and techniques, a reference kit of information and tool s for desig n and prepress in the computer age.

When CA reviewed the first edition, we wrote, "It can save you a lot of Tums," and that still stands as an apt quote.

All of your questions about the machinery and technical methods of printing production are answered in an ea yto-use reference tool. The ring-bound page are varni hed heavy bristol with many folded pockets containing such tools as a line-gauge ruler, copy fitting wheel and a proportion scale. A display of halftone screens and values is bound in , as is a full reference of process color charts on both coated and uncoated paper. The tools in the kit alone would cost four times the price of the book if bought in div iduall y.

If you have a leaky memory, as I have, you '11 appreciate the completeness of information and the easy to find descriptions of just about everything: typography, photomechanics, electronic scanners, color techniques , proofing, imposition , presses , folding and binding and a full reference of metric sizes.

I've found that the computer catalogs Ii t things that computer classes often overlook. Dean Lem has expanded this edition to include computer system requirements: electronic composition, hardware and software, desktop color, digital, bitmaps, outlines, rasters, vectors, fonts, page layout and assembly and image processing.

This is definitely a one-volume library.

GRAPHIC DESIGN CAREER GUIDE: 2

By James Craig Published by Watson-Guptill Publications 1515 Broadway, New York, New York 10036

$19.95

I wish thi s book had been around when I started in this field. Not only is it an updated and full-fleshed guide to a career in design, but it is crammed with examples of work by professionals.

Most heartening is a section of anecdotes titled, "How I

Got My First Job. " It seem as though such fine designers as Sey mour Chwast, Jerry Herring, Deborah Su ss man , Nancy Skolo and Jack Summerford didn ' t walk right in to th e top des k , a nd th eir stories should be a help to beginning des ig ners.

T hi guide is a treasure. It tells about and shows portfolios, and give all type of advice for freelancing , writing res um es, going on intervie w and establishing careers. It also includes a g uide to chools, publishers and agencies (all in New York , however).

The author ha made a clear, conci se and well-produced book w ith authority . In addition to having written many book on the profes ion , Mr. Craig lectures widely and teache graphic design at Cooper Union in New York.

TH E D ESIGN OF BOOKS

By Adrian Wil so n P ublis hed by Ch roni c le Boo k 275 5th Street, San Franci sco , Californi a 94103

$ 14.95

Here's an old friend revi sited. Though Adrian Wil on has left us for book-de igner 's heaven, his book is still with us.

It ' been out of print since 1988, but its sensitive presence has had a place on our studio shelves since long before that. The examples of fine de ign pictured on its pages have often inspired us to do our best when faced with a bl ank dummy.

In hi foreword to this new edition , typographer Sumner Stone, says it best, "The cover design of the original publication depicted the icon s of the trade at the time-a TSquare and a triangle. These have been abandoned in favor of a keyboard and a mou se. The Design of Books looks and feel s contemporary twenty-five years after its first publication. Book design i , like the design of text typefaces, inherently conservative. We want our information in clear, direct, predictably organized packages. Technology has little effect on these requirements. " Adrian Wilson said of hi s work , " Well-made books have a life far beyond the arti stic period in which they are created. And so certain conventions continue to be observed not because they are fashionable or proper, but because they facilitate production and reading. The function of the de sign of books is to provide the economy of manufacture , the graphic order and the attraction which bring reader to author and buyer to publisher. The criterion is imaginative appropriateness ."

W ilson , from his studio on San Francisco ' s Telegraph Hill, elec ted over 250 superb design samples , many from the masterpieces of leading book designers , to demonstrate the beauty of good de sign. He presents time-bound in pirations; if you thirst for a conversation with a talented, thoughtful , intelligent and well-spoken designer, spend some time with this book.

-Byron Ferr is

BRIEFLY NOTED:

DUTCH GR APHIC DESIG N 1918-1945 by Al ston W. Purvi s (Published by Van Nostrand Reinhold , 115 Fifth Av enu e, New York, New York 10003 , $39.95 ). Mo t students of graphic de sign are familiar with the work of Piet Zwart, whose de sign s for the cable factory NKF in the 1920 took more typographic and design ri sks than any similar work for industry since. But there were many risk-taking and in spiring designers working in the Netherland in the decades between the World Wars, with a new tradition of work that explored letterform , type and image, vi s ual metaphor, spatial construction and illustration. In Dutch Graphic Design, Alston Purvi s gives a thorough telling of this fertile period and place, important for anyone interested in graphic design or art history. In addition to the wellknown Zwart and Paul Schuitema, the book presents some of the brilliant yet rare work of Dick Elffers, the " Hot Printing" of H. N. Werkman (typographic experiments inspired by " hot jazz") and the stories and work of many others. Dutch Graphic Design is a valuable addition to the history of the still under-chronicled field of graphic design history.

- Angelynn Grant Powwow COUNTRY by Chris Roberts (Publi shed by American and World Geographic Publi shing , P.O. Box 5630, Helena, Montana 59604, $19.45) is an important document of Native American traditional dances. It is also a good example of a photographer taking per onal work and turning it into a nicely produced book. Roberts, a Montana-based photographer, specializes in photographs of Native Americans celebrating their cultural traditions.

A powwow participant for twenty years , his insider 's view has enabled Roberts to capture sensitive portraits. He also wrote the accompanying text; a glossary and an index of annual powwow events is included.

CREATIVE TECHNIQUES FOR PHOTOGRAPHING CHILDREN by Vik Orenstein (Published by Writer ' s Digest Books, 1507 Dana Avenue, Cincinnati , Ohio 45207 , $24.95). We all know that children make adorable, if not always cooperative, photo subjects, but this book goes deeper than that. Child photographer Orenstein specializes in hand-colored portraits, exploring a new definition of " cute. " Here she tackles both the practical and artistic aspects of producing children ' s candids and portraits , from posing to styling to shooting. She gives tips for working with kids, and perhaps more importantly, working with parents. Over 100 examples are included to demonstrate the techniques discu ssed.

-Anne Telford

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MATERIALS PLATINUM PRINT PAPER

The Palladio Company, Inc., which claims to have "reintroduced machine coated platinum/palladium photographic paper to the market" (1988) offer Palladio Velvet, a treated paper for making platinum prints. Photographic paper based on platinum was developed in 1873 by William Willis and introduced commercially in 1878. The precious metal co t more than gold however and was replaced by palladium metal around the time of World War I. With the platinum process, the final print is produced by contact printing the negative onto coated paper by exposure to sunlight or an ultraviolet source. Cambridge-based photographer, Robert J. Steinberg, recognized for his work in albumen, platinum/palladium and cyanotype, reformulated the proce s and designed appropriate coating machinery after a decade of teaching hand-coated alternative printing proces es. Palladio's 100% rag paper base is acid free and of a neutral pH, made to their archival standards by The Ri ing Paper Company , and then sized and sensitized by Palladio. It has a smooth surface with deep blacks, light whites and a long scale with good mid-tone contrast.

11 Palladio Velvet is available in izes from 5" x 6 to 16" x 11 20", and in rolls to 16 wide. A package of ten 9 /2 " x l l /2 " sheets is $75-not cheap, but then neither is hand coating. The chemistry needed to develop the paper is also available: Palladio Standard Developer is $15 and the Clearing Bath is $10. Both are food grade and non-toxic until the paper is processed; after processing they pick up metals from the paper and become toxic. I saw processed prints at Palladio ' s booth at Photo West '93, at the Moscone Center, in San Franci co. The photographs looked museum quality and were warm , with glowing tones. For further information about Palladio papers , developing chemistry and exposure units , call (617) 547-8703 , fax (617) 5476810 or write to The Palladio Company , Inc. , P.O. Box 28: Dept. PW, Cambridge, Massachusetts 02140.

PHOTOGRAPHIC STORAGE SYSTEM

Clear File archival photographic storage systems help you safely store your negatives and transparencies. Remember that old song, "I Can See Clearly Now"? Well, their latest offering, the ArchivalPLUS line "provide greater clarity , strength and safety than before. " Developed from a highly specialized formulation of polypropylene, they do appear to be clearer than other pages I've used. None of Clear File 's product contain polyvinylchloride (PVC), which can lead to chemical damage to materials stored in them.

The pages are also stitch sealed between the individual pockets; "dotted" eals increase airflow from pocket to pocket, protecting photo materials from moisture buildup and fungi growth (yuck!). Slide and negative pages have data panels, which enable easy identification. Besides storage for slides and neg , they have black and white print and clear print pages. During the photography competition 222

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at CA , we receive many pages of slide ; my informal survey reveals that Clear File pages are pretty popular with the pros out there. To receive further information , call (800) 423-0274, fax (407) 855-3933 or write Clear File , P.O. Box 593433 , Orlando, Florida 32859.

LITERATURE FOR YOUR FILES A request on your letterhead to the following companies will bring you the literature described .. free unless otherwise noted. Whenever possible.fax numbers have been included for convenience.

Whether you are a photography buyer or a photographer hoping to ell stock images , there are ome great new tock photography catalogs worth checking out. Here are my picks: Archive Photos .. . is taking aim at photo buyer with Catalog One, a new catalog of old photos. See how they cut a rug in the '40s and marvel at such character as the milk man , the pump jockey and the dandy. The "Roadside" ection is full of vernacular architecture (my favorite), and the "Appliance " page i fun , too. Under the chapter People, Places , Things, Entertainment and History , there are over 600 black-and-white historical photo in many pecific categories including a selection of vintage model-relea ed photos from the turn of the century through the ' 60 . To receive a copy of Catalog One , call (800) 688-5656 or fax on your company letterhead to (212) 675-0379.

Tony Stone Images Vol. 5 .. .is a 256-page compilation of 2,200 images from their top photographer . The front and back cover image by U .K. photographer Sheena Land, underscore Tony Stone's dedication to cutting-edge imagery. Ms. Land photographs subjects a out of focus as technically po ible , creating distorted , compelling images. This late t catalog has a 24-page portfolio from Photographers/Aspen (Colorado), a trio of National Geographic photojournalists-Paul Chesley , Nichola De Vore III and David Hi er- who ' ve joined the TSI roster. In addition to the Environment page , reflecting the world around us, a section titled " Social Issue " ha been added to address concerns of ubstance abuse, illnes , depression, homelessness and financial in tability. This catalog is 50% bigger than last year ' and open with a comprehensive index and a Gallery ection, highlighting one photograph to a page. The design and layout has been improved; this is a handsome catalog. Tony Stone ha al o in tituted a $135 a year FreeSearch program , giving clients unlimited acce to their library. As member , clients are freed from the liability of image los s in transit under a special in surance policy , they receive a 30% di sco unt off the agency CD-ROM catalog and anyone from the sub cribing organization is allowed to request an unlimited number of image searches throughout a one-year period. To receive Vol. 5, or to join FreeSearch , call (800) 234-7880 in the U.S.; (800) 565-3879 in Canada.

T he televi ion commercial winners from Communication Art 's 1992 Adverti ing Annual a re now ava ilable on videotape. Con idered one of the mo st important advertising competitions in the world , thi reel contain the fine t television adverti in g produced today.

This year' di stingui hed national panel of creative director

elected 93 commercial (fro m over

2,200 pots submitted) to receive Communication Arts ' s Award of Excellence .

The videotape includes a complete li stin g of creative credits for each commercial and is available in 3/ 4" profe

ional or VHS format for $2 15.

To order your copy of the award-winning commercials from the 1992 Adverti s ing Annual , please fill out the information below and se nd thi page or a facsimile to Communication Arts.

COMMUNICATION ARTS [ P . O . BOX 10 300 , PALO ALTO , CALIFOR

I A 9 43 03)

P LEASE SEND ME CA'S 1992 AWA RD- W I NN I G T E L EV I SI ON COMME RC I ALS FOR $2 15 .

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UM BER TO 4 15 -326- 1648 .

MATERIALS

Photo Haiku ... is an enticing collection of 853 color images from the New York-based picture agency, FPG International, which turns the phrase, "a picture is worth a thou and words" on its ear. This catalog represents the work of nearly 100 Japanese photographers, drawn from FPG' Japanese affiliate, Color Box , hence the poetic title.

The e images attempt to translate the art of haiku into the medium of photography. And they are poetic, indeedtwo cherry tomatoes float on azure water, flowers take on new sensual dimensions, per pectives shift and blur. Each section-Nature, Flowers, Food, Still Life, Backgrounds, Architecture, Transportation, Travel, Sports and Peopleopens with a haiku poem. (Travel: "Passport check:/my shadow waits/across the border.") FPG led the pack with their extensive archives of lifestyle photography from the ' 40s, '50s and '60s in their Lifestyle Classics catalog.

Perhaps they will vanguard a move towards a more idiosyncratic, stylized, and yes, poetic, stock imagery.

FPG has also gone digital, their first offering is CD Selects Vol. 1, containing 5,700 images, drawn from their top selling work, and representing the agency's five photographic di vi ions from contemporary color to black-and-white, special effects, retro and archival hi storical imagery. To get Photo Haiku, or inquire about FPG's other catalogs or

OCTOBER 29-31, 1993 JACOB K. JAVITS CONVENTION CENTER NEW YORK, NEW YORK

CAil

1-800-243-3238 for more Information.

GRAFIX/CMC, 200 Connecticut Avenue, Norwalk, CT 06856-4990 Fax: 203-838-3710

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CD Selects, Vol I, call (212) 777-4210, fax (212) 995-9652 or write FPG International Corp., 32 Union Square East, New York, NY 10003.

Phototheque Mon-Tresor Y... c'e tun catalogue du photos tres unique. It is one of ten photo catalogs offered by Mon-Tre or through their independent U.S. sales agent, Panoramic Images. The "Y" erie of catalogs was named after Mon-Tresor's owner, Koji Yamashita, who founded the Japanese company in 1976 with hi photograph , after many years hooting for Dentsu. The company name translates to "my treasure." Panoramic Images was founded by Doug and Mark Segal; it began with Mark's photographs and has grown to represent 85 panoramic shooters worldwide. Y is full of striking images like the Robert Amft series of Pointillist-inspired photos of the cathedral at Rauen, one of Monet's favored subject . John Hesketh 's surreal , color saturated photo are eerie evocation of uburban life and I was especially struck by Jerianne Garber's architectural photos which seem to combine handcoloring or tinting, with reflections in water, to create animated urban landscapes. If you are intere ted in Phototheque Mon-Tre or's catalog , call Panoramic Images (312) 236-8445, or fax (312) 704-4077. Photographers are invited to submit their work with an SASE; panoramic

photographers should submit to Panoramic Images, those who work in other formats should contact Tim Potter at Mon-Tresor U.S.A. , for submission guidelines, (517) 347-4130, fax (517) 347-1471.

On Buying Photography: A client's guide for working with photographers ... was produced by The American Society of Media Photographers (ASMP), in the interest of improving client/photographer relations. The informative guide wa written by ASMP directors Terry Pagos and Robert Rathe. It was funded by Eastman Kodak Professional Imaging and it' intended for a wide audience of photography buyers , including marketing people, design and advertising practitioner and students. The guide outlines selecting and working with a photographer, it covers pricing assignments and defines copyright and usage.

Shrink-wrapped bundles of 20 are available for $10, plus $3 shipping and handling; you can get a free single copy by sending a stamped, self-addressed #10 envelope to ASMP, 419 Park Avenue South, New York, New York 10016.

Two other ASMP publications recently crossed my desk: Photographer's Guide to Negotiating by Richard Weisgrau, executive director ASMP ($9.95, plus $3 shipping/handling) and An ASMP White Paper on Copyright Registration, also by Weisgrau ($8.00, plus $3 shipping/handling) are

Edward Koren Cartoonist and Illustrator Pratt '64

straight-ahead, helpful guides to photo business practices.

To request copies , call ASMP (212) 889-9144.

Exposures .. .is a catalog full of attractive gallery-style picture frames , including many multi-windowed varieties; clever photo torage boxe and beautiful photo albums.

There are lovely gift ideas like a "Belle Epoche" memory box in which to store romantic photos or letters , and leather-covered Italian photo albums with the "Three Graces" or embossed leaves gracing their covers- one I covet is clearly inspired by Madame Chanel ' s famous chain-strapped handbag . The quilted album is finished with a leather medallion that can be gold-stamped with your favorite fashion maven's initials. I have Post-its on several pages. To request a catalog, call (800) 572-5750.

Light Impressions ... is a catalog of archival photographic supplies. There's everything from light boxes to museum cases , portfolio cases, framing supplies, flat files and everything you need to safely and archivally tore your photographs, slides and negatives. Prices appear to be good. To request a catalog, call (800) 828-9859, or write Light Impressions, 439 Monroe Avenue, P.O. Box 940, Rochester, New York 14603.

-Anne Telford

For over a century. Pratt Institute has helped people distinguish themselves in virtually every creative field.

From fine arts to architecture, from photography to computer graphics, Pratt nurtures and motivates students to take their talents as far as they will go.

That's why Pratt students don't just draw it or build it. They also make it.

For more information about Pratt's undergraduate and graduate degree programs in computer graphics, film/video, graphic design, illustration, packaging design and photography, call 1-800-331-0834, ext. 814, or write to the Office of Admissions.

Pratt

Draw it. Build it. Make it.

I

c 1992 Art work rourtesy ofEdward Koren.

Pratt Institute, Brooklyn 200 Willoughby Ave., Bklyn, NY 11205 • (718) 636-3669, ext. 814 Pratt Manhattan-Professional Studies/Continuing Education 295 Lafayette St., NY, NY I0012 • (212) 925-8481, ext. 814

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CLUBS, CONFERENCES, SEMINARS CHICAGO

The American Center for Design announces a symposium, "Graduate Education in Design: Fact or Fiction?" to be held October 1 and 2. Educators from industrial and graphic design chool will give brief presentation about their graduate programs, followed by a serie of moderated panel discussions and breakout ses ions covering issues such as interdisciplinary design education, the ability of graduate education to meet changes in design practice and other contemporary i sues that should be addressed by graduate programs. The panelists are Bruce Hannah, director of graduate industrial design, Pratt Institute; Sheila de Bretteville, director of graphic design studies, Yale University; Haig Khachatoorian , head of the industrial design program, North Carolina State Univer ity; Patrick Whitney, director, Institute of Design, Illinois Institute of Technology; Katherine McCoy, de ign department co-chair, Cran brook Academy of Art; and Thomas Ocker e, design division chair, Rhode Island School of Design. The moderator will be Sharon Poggenpohl, editor of Visible Language and Rhode Island School of Design faculty member. Registration is limited to 100. Discounted, early registration is available until September 1. Discounted fee are available to members of ACD, IDSA and GDEA. For information on how to register, contact the American Center for Design at (800) 257-8657; in Illinois, call (312) 787-2018. ACD , 233 Ea t Ontario Street, Suite 500, Chicago, Illinois 60611.

NEW YORK

October 29-31 are the date for The VISCOMM (The Visual Communication Expo) Show Group at the Jacob K. Javit Center. Viscomm includes: Photo, for profes ional photographers; Grafix, for graphic de ign professionals; Prolab, for photo lab professionals; and Corporate Video Expo, for professional video communicators. For program and registration information contact Andrea Cassello, Director Conference Programs, phone (203) 852-0500, fax (203) 838-3710 or write CMC/VISCOMM , 200 Connecticut Avenue, Norwalk, Connecticut 06856.

ASMP

ATLANTA

The American Society of Media Photographers, Inc. elected Matt Herron pre ident. Herron , a San Francisco area ASMP member, photojournalist, author and civil and animal rights activist, was elected for a two-year term. He replaces Vince Streano whose two-year term expired in May. Streano will remain a board member. The board also elected two experienced directors as vice presidents; Robert Rathe of Fairfax, Virginia, who served as the Society 's first vice pre ident on the previous board and will retain that office, and Reagan Brad haw, Austin, Texas, former ASMP national secretary.

Other officers elected were: secretary Terry Pagos, Seattle, and trea urer Jay Asquini, Livonia, Michigan. The board includes the officers and the following members: Alan Abramowitz, Dennie Cody , Enrico Ferorelli, Lou Jacobs, Jr., Peter B. Kaplan, Don Klumpp, Don Luce, David MacTavish, Jay Mai sel, Margo Pinkerton, Roger Ressmeyer. ASMP, 419 Park Avenue South , New York, New York 10016. Phone (212) 889-9144.

The southeast chapter of the Association of Independent Commercial Producers announced its 1993-94 board of directors: president Guy Tucker, Fire ide Productions ; vice president Sheryl Myers , Comotion Film ; and ecretary/ trea urer Craig Miller, Craig Miller Production . Additional board members are: Mark Wagner, Vanderkloot Film & Television ; Vivian Jone , First Light; Ed Stamm, Victor Duncan Inc.; Susan Satterfield, Facemire-Satterfield Film & Tape; Athalie White, Designefx; Annette Stilwell, Stilwell Casting ; and Clint Pressley , Bridge Production s. Bill LaBorde, LaBorde Film & Tape; John Reichard , Payroll South and John McCorkle, Fire ide Production , remain on the board as past pre idents. Formed in 1972, by a small group of commercial production companies which recognized the need to improve dialogue and working relation between themselves and their client , the AICP now ha nine full member chapters and three affiliate chapter aero s the United States. Phone (404) 351-2005, fax (404) 351-0508, AICP/Southea t Office, 1379 Chattahoochee Avenue, Atlanta, Georgia 30318.

SIGN ARTISANS

Sign Artisans Guild , a trade organization for sign craftsperson , has recently been formed. According to the group' by-law , the purpose is "to recognize, preserve and advance sig n craftsmanship and the artisans throughout the world 226

who work in thi craft; to inspire, educate and upport sign artisans and to promote excellence through workshops, conferences, eminars and informal gathering and events; to foster a deeper understanding and a wider appreciation by increasing public awarenes of sign craftsmanship and the artisans worldwide who work in thi craft." Linda Lanza, executive director, said, "The Sign Artisan Guild is a celebration of the maker and the creative proce s, not ju t the process. " Co-founder and creative director, Al Zanetti , brings over 30 year experience a a ign painter, lettering artist, educator and busine sman to the Guild. A quarterly journal and a membership certificate are among the Guild's benefits. For a de criptive brochure and an application, write to Sign Artisans Guild, P.O. Box 720, Ea t Brunswick, New Jersey 08816.

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-Jean A. Coyne Copy must be received two months prior to the publication date. Please include a contact, phone number and an address.

INDEX TO PHOTOGRAPHERS

A Aaronson, Jeffrey 133 Phone (303) 925-5574 319 Baltic Avenue. Studio #NP Aspen. CO 81611 Aikin, Gill 119 Phone (416) 534-2259 41 Shanly Street. Unit #1 Toronto. Ontario M6H 1S2 Canada Arndt, Jim 15. 27 Phone (612) 332-5050 400 1st Avenue N.. #510 Minneapolis. MN 55401

Giglio, Harry 143 Phone (412) 481-4142 16 & 18 Terminal Way, 2nd Floor Pittsburgh, PA 15219

Ceppas, Cristiana 133 Phone (415)431-3050 1062 Folsom Street. 3rd Floor San Francisco. CA 94103

Duka, Lonnie 83 Phone (714) 494-7057 352 Third Street. Suite 304 Laguna Beach. CA 92651

Gipe, Jon 15 Phone (602) 230-8266 6747 N. 10th Street Phoenix. AZ 85014

Chalfant, Flip 120 Phone (404)881-8510 1867 Windemere Drive Atlanta. GA 30324

E

Glentzer, Don 119 Phone (713) 529-9686 3814 S. Shepherd Houston. TX 77098

Eckert, Peter 116, 127 Phone (503) 234-2344 2136 S.E. 7th Portland. OR 97214

Cohen, Stewart Charles 100 Phone(214)421-2186 2401 S. Ervay, Suite 206 Dallas. TX 75215

Baraban. Joe 124 Phone (713) 526-0317 2426 Bartlett. #2 Houston. TX 77098 Barker, Kent 38, 127 Phone (505) 776-1707 730 Paseo Del Pueblo Norte. #115 Taos. NM 87571

124

Bennett, Sue 22 Phone (602)774-2544 P.O. Box 1574 Flagstaff. AZ 86002

Burnett, David 54, 66 Phone (212) 481-6910 Contact Press Images 116 E. 27th Street. 8th Floor New York, NY 10016 Bzdak, Zbigniew 83 Phone (708) 798-5751 P.O. Box 1502 Homewood. IL 60430

Daniel, Ralph 99. 112 Phone (404)872-3946 1118 Hudson Drive Atlanta. GA 30306 Darling, Dennis Carlyle 71 Phone(512)471-1973 Department of Journalism University of Texas at Austin Austin. TX 78712

95

Doucette.Vernon 92 Phone (617)242-3692 P.O. Box 446 Charlestown. MA 02129

F

Grimes, Joel 47 Phone (303) 777-8985 444 Lincoln Street Denver. CO 80203

Faye, Gary 109 Phone (713) 529-9548 2421 Bartlett Houston. TX 77098

H Hamilton, Chris 103 Phone (404) 971-2024 485 Little Road Marietta. GA 30067

Francis, Pam 84 Phone (713) 528-1672 2700 Albany, #303 Houston. TX 77006

Harbron, Patrick 116 Phone (212) 967-2111 666 Greenwich Street. Suite 746 New York. NY 10014

Froomer, Brett 35 Phone (212) 533-3113 7 E. 20th Street New York. NY 10003

Hartgers, Sacha 72 Phone (212) 477-9500 Focus/Matrix 46 E. 21st Street. 3rd Floor New York. NY 10010

G

Hauser, Marc 92 Phone (312) 486-4381 1810 W. Courtland Chicago. IL 60622

Gajdel, Edward 78 Phone (416) 535-4733 198 Crawford Street Toronto. Ontario M6J 2V6 Canada

DeSouza, Daniel 134 Phone (415) 495-1900 123 S. Park Street San Francisco. CA 94107 DeVore Ill, Nicholas Phone (212)255-8815 Photographers/ Aspen 40 W. 12th Street New York. NY 10011

Grehan, Farrell 75 Phone (212) 672-3999 5 E. 22nd Street. #22L New York, NY 10010

Fisher, Jon 41 Phone (212) 206-6311 236 W. 27th Street. 4th Floor New York. NY 10001

48

Dickens, James 134 Phone (619)721-6205 6986 El Camino Real. #B-253 Carlsbad. CA 92009

c

15,

D

Dee, Stuart N. 141 Phone (604) 224-3122 4725 W. 6th Avenue Vancouver. BC V6T 1C4 Canada

Bickel, Richard 81 Phone (412) 261-4434 25 Market Square Pittsburgh. PA 15222

Gregoire, Peter 110 Phone (212) 967-4969 448 W. 37th. #12C New York. NY 10018

Erickson, Jim 35, 115 Phone (919) 833-9955 117 S. West Street Ra leigh. NC 27603

Clifford, Geoffrey 54 Phone (602) 577-6439 4719 Brisa Del Norte Tucson. AZ 85718

Banko, Phil 21 Phone (206) 621-7008 1201 1st Avenue S.. #332 Seattle. WA 98134

Caffee, Christopher Phone (412)642-7734 PhotoSynthesis. Inc .

105 Market Street Pittsburgh. PA 15222

Dugan, Joanne 28. 100 Phone (212) 964-6404 8 Thomas Street New York, NY 10007

Clemens, Clint 28 Phone (617) 934-9410 P.O. Box 2439 Duxbury, MA 02331

B

Barocas, Melanie Eve Phone (203) 457-1717 78 Hart Road Guilford. CT 06437

Carey, Bob 95 Phone (602) 431-0990 3214 S. Fair Lane Tempe, AZ 85282

Heinser, Thomas 91, 106 Phone (415) 495-0365 25 Zoe Street San Francisco. CA 94107

Garn, Andrew 123 Phone (212) 353-8434 85 E. 10th Street New York. NY 10003

Hellweg, Max-Aguillera 53 Phone (212) 697-1302 847 A Second Avenue. Suite 142 New York. NY 10017

Geddes, Bill 136 Phone (212) 686-9419 85 Shutter Lane Oyster Bay, NY 11771

Herholdt, Frank 6 Phone (212) 682-1490 Bernstein & Andriulli 60 E. 42nd Street New York. NY 10165

Giansanti, Gianni 54 Phone (212) 675-7900 Sygma News Photo Agency 322 8th Avenue. 11th Floor New York. NY 10001

Hirsch, Karen I. 136 Phone (312) 440-5011 4170 N. Marine Drive. #6G Chicago. IL 60613

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INDEX TO P HOTOG RAPHE RS

Holland, Robert 50 Phone (305) 255-6758 14601 S.W. 82nd Court Miami, FL 33158

Klett, Mark 105 Phone (602) 622-7133 Swanstock P.O. Box 2350 Tucson. AZ 85702

Holmgren, Robert 81 Phone (415) 325-6837 319 Central Avenue Menlo Park, CA 94025

Kountoupes, Nicola 134 Phone (415) 921-3503 2584 Bush Street San Francisco. CA 94115

Hood, Robin 19 Phone (615) 794-2041 1101 W. Main Street Franklin, TN 37064

Krist, Bob 56, 66 Phone (201)445-3259 333 S. Irving Street Ridgewood, NJ 07450

Huber, Vic 89 Phone (714) 261-5844 1900 E. Warner Avenue, Suite E Santa Ana, CA 92705

Leach, Allison 112 Phone (713) 988-3777 7315 Ashcroft, Suite 108 Houston, TX 77081

J Jones, Burt 91 Phone (512)328-1202 P.O. Box 162931 Austin, TX 78716

Lesch, William 84 Phone (602) 622-7133 Swanstock P.O. Box 2350 Tucson, AZ 85702

K

Ludwigsson, Hakan Phone (46) 31-830438 Sofierogatan 3 412 51 Gi:iteborg Sweden

10

Kennedy.Stephen 144 Phone(314)664-6545 1933 Edwards St. Louis, MO 63110

M

Kern, Geof 48 Phone (214) 630-0856 1355 Conant Street Dallas, TX 75207

Mahurin, Matt 75 Phone (212) 691-5115 666 Greenwich Street New York, NY 10014

Klauss, Cheryl 127 Phone (212) 431-3569 451 Broome Street, #7E New York, NY 10013

Maisel, Jay 112 Phone (212) 431-5013 190 The Bowery New York, NY 10012

Kleinman, Kathryn 99 Phone (415) 331-5070 3020 Bridgeway, #315 Sausalito, CA 94965

Malaterre, Dominique 38 Phone (514) 844-0294 Tilt Inc. 231 Saint-Paul W. Montreal, Quebec H2Y 2A2 Canada

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Nielsen, Ed 84 Phone (415) 853-4136 2650 S. Bert Crane Road Atwater, CA 95301

Marsico, Dennis 66, 78 Phone (412) 781-6349 110 Fahnestock Road Pittsburgh, PA 15215

Nolton, Gary 99 Phone(503)228-0844 Nolton Stud io 107 N.W. Fifth Avenue Portland, OR 97209

Mcleod, William Mercer Phone (415) 550-7576 225 Fair Oaks Street San Francisco, CA 941 10

129

McSpadden, Wyatt 37 Phone (512) 322-9102 P.O. Box 650098 Austin, TX 78765 Meeks, Raymond 53 Phone (617) 643-6022 21 Pine Street Arlington, MA 02174

Miles, Bill 13 Phone (617) 426-6862 374 Congress Street, Suite 304 Boston. MA 02210

Lowery, Ron 136 Phone (615) 265-4311 409 Spears Avenue Chattanooga, TN 37405

Kendrick, Robb 81, 87, 116, 143 Phone (512) 454-7649 703 E. 43rd Street Austin, TX 78751

Mark, Mary Ellen 59, 68 Phone (212) 925-2770 134 Spring Street, Suite 502 New York, NY 10012

Michl, Joe 112 Phone(612)874-1999 Parallel Productions 2010 1st Avenue S. Minneapolis, MN 55404

Lewis, Robert 16 Phone (212) 475-6564 333 Park Avenue S. New York, NY 10010

Kander, Nadav 24, 63, 103 Phone (44) 71-359-5207 1-7 Britannia Row London N1 80H England

228

L

Lawrence, Ian 106 Phone (201) 763-8009 22 Mountainview Terrace Maplewood, NJ 07040

Husebye, Terry 6, 105 Phone (415) 864-0400 2325 Third Street, Studio 213 San Francisco. CA 94107

Niedorf, Steve 95 Phone (612)332-7124 700 Washington Avenue N., #304 Minneapolis, MN 55401

McArthur, Pete 41, 71 Phone (310) 815-1951 8741 W. Washington Boulevard, Suite A Culver City, CA 90232

Lavine, Michael 27 Phone(212) 924-5310 78 5th Avenue, 5th Floor New York, NY 10011

Huet, John 13, 21, 37 Phone (617) 439-9393 27 Drydock Avenue Boston. MA 02210

Mar, Bryan 138 Phone(310)901-5929 13720 Acorn Street Cerritos. CA 90701

Miller, Dennis 110 Phone (310) 546-3205 1467 12th Street, #C Manhattan Beach, CA 90266 Mizono, Robert 10 Phone (415) 648-3993 650 Alabama Street, #301 San Francisco, CA 941 10 Murphy, Dennis 6 Phone(214)651-7516 101 Howell Dallas, TX 75207

N Nachoum, Amos 77 Phone (212) 877-9251 42 W. 87th Street New York, NY 10024 Neleman, Hans 9 Phone(212)274-1000 77 Mercer Street New York, NY 10012

Norberg, Marc 103 Phone (612) 340-9863 25 N. 4th Street, 4th Floor Minneapolis. MN 55401

0 O'Brien, Michael 16, 138 Phone (800) 597-7511 6502 Minikahda Cove Austin , TX 78746 O'Rear, Charles 83 Phone (707) 963-2663 2140 Dean York Lane St. Helena, CA 94574 Ott, Jeff 22 Phone (214) 638-0602 2328 Farrington Dallas, TX 75207

p Payne, Steve 63 Phone (416) 778-9504 58 Denison Avenue Toronto, Ontario M5T 2M8 Canada Peebles, Daniel 141 Phone (602) 622-7133 Swanstock P.O. Box 2350 Tucson, AZ 85702 Peters, Tim 63 Phone (716) 283-6019 P.O. Box 404 Buffalo, NY 14205 Peterson, Bryan F. 6 Phone(503) 227-5948 1125 N.W. 16th Portland, OR 97209 Pickett, Keri 50 Phone (612) 339-0460 17 Greenway Gables Minneapolis, MN 55403

R Rigau, Felix 91 Phone (415) 928-1933 3035 Baker Street. #103 San Fra ncisco . CA 94123 Robbins. Bill 27 Phone (3 10)314-7771 228 Main Street Ven ice . CA 90291 Ross, Alan 146 Phone (415) 495-1900 123 S. Park Street San Franc isco. CA 94107 Rusing, Rick 9 Phone (602) 967-1864 1555 W. University, #106 Tempe , AZ 85281 Ryan, Tom 31 , 37 Phone (214)651-7085 2919 Canton Da llas. TX 75226

Sedlik, Jeff 42 Phone (213) 626-3323 940 E. Second Street, Studio 8 Los Angeles. CA 90012

Stoecklein, Dave 131 Phone (208) 726-5191 P.O. Box 856 Ketchum. ID 83340

Seliger, Mark 64, 83 Phone (212) 941-6548 96 Grand Street. #3F New York. NY 10013

T

Shafer, Dave 120 Phone (404) 876-1992 1579 Monroe Drive. Suite 156 Atlanta , GA 30324

Shimlock, Maurine Phone (512) 328-1201 P.O. Box 162931 Austin, TX 78716

Sacha, Bob 59 Phone(212)749-4128 12 W. 96th Street. #14B New York. NY 10025

Shoemake, Allan Hunter Phone (201) 467-4920 56 Main Street Millburn, NJ 07041

Schatz, Howard 45 Phone (415)457-0810 P.O. Box 640350 San Franc isco. CA 94164

Sinkler, Paul 115 Phone (612) 343-0325 420 N. 5th Street, #516 Minneapolis, MN 55401

Scherer, Jim 119 Phone (617)338-5678 35 Kingston Street Boston . MA 02111

Smale, Brian 71 Phone (212) 627-4687 251 W. 19th Street, #1 C New York. NY 10011

Schleipman, Russ 105 Phone (617) 267-1677 298 A Columbus Avenue Boston. MA 02116

Smith, Ron Baxter 136 Phone (416) 462-3040 11 Carlaw Avenue. Unit 4 Toronto, Ontario M4M 2R6 Canada

Schulman, Scott C. 92 Phone (310) 306-2191 4311 Lyceum Avenue Los Angeles. CA 90066 Schwarm, Brad 9 Phone (307) 733-5353 P.O. Box 2962 Jackson, WY 83001

Thompson, William 133 Phone (206) 621-9069 15566 Sandy Hook Road Poulsbo. WA 98370

91

s

Schneps, Michael 144 Phone (415)821-4845 4104 24th Street. #352 San Franc isco. CA 94114

Thain, Alastair 75 Phone (310) 278-7163 614 N. Beverly Drive Beverly Hills, CA 9021 O

Sharpe. Scott 48 Phone (919)829-4735 The News & Observer Photo Department 215 S. McDowell Street Raleigh, NC 27602

Shinn, Chris 81, 91 Phone (713) 526-2623 2411 Bartlett Houston, TX 77098

Schnepf, James 32 Phone (414) 691 -3980 W277 N2730 Trillium Lane Pewaukee. WI 53072

Tejada, David X. 106 Phone (303) 979-0171 12036 W. Brandt Place Denver, CO 80127

Toerge, David G. 48 Phone (415) 824-7099 3972 Folsom Street San Francisco. CA 9411 O

144

Trent, Brad 35 Phone (212) 627-2147 666 Greenwich Street New York, NY 10014 Turner, Danny 68, 77 Phone(214)826-1130 4228 Main Street Dallas, TX 75226 Turner, Pete 115 Phone (516) 537-2434 P.O. Box 203 Wainscott, NY 11973

v Yarde, Abhijit 97 Phone (415) 928-8039 840 Taylor Street, #4 San Francisco. CA 94108

Spalding, Clem 131 Phone (210) 271-7273 107 Blue Star San Antonio. TX 78204 Springmann, Christopher Phone (415) 663-8428 P.O. Box 745 Pt. Reyes. CA 94956

Topelmann, Lars 31 Phone (503) 224-4556 1314 N.W. Irving, #214 Portland. OR 97209

72

Staller. Jan 71 Phone (212) 219-1048 37 Walker Street New York. NY 10013 Stevens, Bob 146 Phone (310)822-0121 1800-A Abbot Kinney Boulevard Ven ice . CA 90291

Vedros, Nick 13 Phone (816) 471-5488 Vedros & Associates 215 W. 19th Street Kansas City, MO 641 08 Venville, Malcolm 22 Phone (44) 71-436-5191 23 Nassau Street. Basement London W1 N 7RF England

w Wade, Chriss 54 Phone (212) 795-8764 615 Fort Washington Avenue New York. NY 10040 Walsh, Frank 24 Phone (412) 621-1268 Rieder & Walsh Photography 424 N. Craig Street Pittsburgh, PA 15213 Wells, Heidi Kirsten 63 Phone (617) 232-7417 1284 Beacon Street. Suite 610 Brookline, MA 02146 Westmoreland, Graham Phone (44) 9-24276493 18 Carr Lane Middlestown. Wakefield W. Yorks WF4 4QJ England

22, 31

Wexler, Glen 16. 143 Phone (213) 465-0268 736 N. Highland Avenue Los Angeles. CA 90038 Wilkes, Stephen 31 Phone (212) 475-4010 48 E. 13th Street New York. NY 10003 Winters, Dan 84 Phone (213) 874-1949 6383 Bryn Mawr Drive Los Angeles, CA 90068 Woodward, Fred 41 Phone(212)484-1655 Rolling Stone 1290 Avenue of the Americas New York. NY 10104 Wreszin, Daniel 9 Phone (213) 937-3021 437 N. Sycamore. Suite 204 Los Angeles, CA 90036

x Xu, Jiashu 61 Phone (61) 8-346-5683 34 Belford Avenue Devon Park SA 5008 Australia

Editor's Note Every effort has been made to ensure that the credits comply with information supplied to us. If. for any reason. a misspelling, omission or other error has occured notify us within thirty day~ and we will be able to issue corrected award certificates .

COMMUNICATIO

ARTS

229

INDEX TO ART DIRECTORS , DESIGN FIRMS, AGENCIES AND C LIENTS

Burlison. Bryan 37 Burmester. Terri 19 Butera's Restaurant 86

A AGA AB 72 Advertising Photographers of America 91 Alaska Tourism 19 Alfa Romeo of North America 89 Aikin, Gill 119 American Airlines 68, 71, 75 American President Lines 99 American Way 68, 71. 75 Amnesty International 103 Anderson. Gail 64, 68 Anderson, Ron 124 Appen. Allyson 81 Apple Computer, Inc. 16 Armario, David 53 The Army Times Publishing Company 54 Arnold, David 83 The Art Group, Ltd. 91 The Art Group Nature Collection 91 Arts Counsel 41 Atlanta Paralympic Organizing Committee 103 Audubon 59 Austopchuk. Chris 16

c Caporimo, James 31 Carmichael Lynch 28 Amon Carter Museum 105 Chapman, Russ 92 Chronicle Books 38 Ciano, Bob 66 Clockwork Apple Club Corporation of America 100 Cole & Weber 31 CollinsPublishers San Francisco 41 Companion Animal Association of Arizona, Inc. 95 Computer Associates 35 Conde Nast Traveler 63 Consolidated Nevada Goldfields Corp. 106 Copeland Hirthler Design & Communication 103 Corson, Madeleine 91, 106 Madeleine Corson Design 91,

106 Craig, Mitch 21 Creative Summ it '92 Crichton. Doug 75

B BBDO Los Angeles 16 Baker, Richard 48 Bank of America 10 Bank of Boston 13 Barber, Hal 15 Barry, Jennifer 41 Bartels & Company 31 Becker. Erin Kenney 50 Beechcraft-Starship 9 Bierut. Michael 100 Bigsby & Kruthers 92 Bishop, Debra 64 Black, Bill 56, 66, 71. 78. 81 Bonavita, Donna 81 Boone, John 9 Borchers. Gerhard 136 Bowmer. Michael 91 Bradley Communications 19 Brautigan. Doris 75 Bremec, Jayne 15 Bronaugh, Brian 24 Brooks. Sharrie 99 Bureau of Engraving 95

230

P H 0 T 0 G R A P H Y

I 9 9 3

Eakins. Warren 22, 31 The Earth Technology Corporation 109 Eastern Utilities. Inc. 92 Eastman Kodak 22 Eckert. Peter 116 Eclectic Hair Atelier 38 Eisaman. Johns & Laws 9 Emphasis (HK) Ltd . 61 Entertainment Weekly 75, 78, 84 Envision 92 Epic Records 16 Erickson. Jim 115 Erickson Productions 115 Etherton Stern Gallery 84 Everson. Captain Mark 99

112

Dallas International Sports Comm ission 6 Ralph Daniel Photography, Inc. 112 Davidian. David 35 Dee.StuartN . 141 Delmonico, Dave 112 Denton, Mark 22 P.J. Dick Inc . 95 Difiore. Gabe 9 Dilorenzo. Lou 56, 66, 71, 78, 81 Discover 53 Dow Jones 110 Dow Jones Marketing Services 110 Doyle Advertising & Design Group 103 Doyle, John 103

U A L

E

F

D

A N

Doyle. Stephen 41 Drace. Matthew 53 Dreier. Kyle 68, 75 Drenttel Doyle Partners 41 Duckworth, Nancy 59 Dunn, Mary 75, 78, 84

FCB/Leber Katz Partners 35 Fallon McElligott 27 Fedor, Dexter 10 Ferber Design 105 Ferber. Don 105 Fie I Pub Iications 37 Fostex Corporation of America Fox. Bert 48, 72 Fox, David 13, 21 Frank. Andy 9 Frank, Karen 71 Freeburn , Verity 84 Frey, Larry 35 Fuller, Ann Lee 28

Glentzer, Don 119 The Globe and Mail 63 Godshall , Alan 15 Golding, Lee 6 Graphic Design 37 Graves.Bill 81.143 Gregg, Michael 63 Grey Direct 15 Grimes. Joel 47 Gunn Associates 119

H Haines, Lundberg &Waehler 106 Hammond, Hazel 66 Harbron. Patrick 116 Harley-Davidson 28 Harper Collins 41 Hasler, Tucker 6 Hasson. Noel 24 Health 75 Heinser, Thomas 91 Helm, Jelly 35 Hernandez, Armando 6 Hessler, Geraldine 64 Hill, Holliday, Connors, Cosmopulos , Inc. 13 Hill/A Marketing Des ign Group 112 Hiram Walker Inc .

Hirsch. Karen I. 136 Historic Hudson Valley 100 Hogland, Rudy 66 Home Box Office, Inc. 32 The Houston Press 84 Howe. Peter 59 Huber. Vic 89 Campaign for Human Rights 97 Hurndell, Adrianne 144 Husebye, Terry 6 Hutchins, Micca 63 Hutchins/Young & Rubicam 22

I G Geddes, Bill 136 Gega, Janice 99 Gentlemen 's Quarterly 71 George, Michael 28 Giglio, Harry 143 Gilmore-Barnes. Catherine 64

Ice Commun ications 112 Icebox Custom Fram ing 27 International Assoc iates Pub lishers & Consultants AB 72 lnterscope Records 16

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INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

J

M

Jamaica Tourist Board 35 James. Frank 103 Jantz Design 106 Jefferson/Acker 9 Johannes. Larry 22 Johnson , Bob 100 Johnson & Johnson 27 Johnson, Mary 105 Johnson, Nancy Jo 50 Johnson, Warren 28 Jones, Melinda 31 Jones, Peter C. 41

MTV 27 Maisel, Jay 112 Malaterre, Dominique 38 Mandarin Oriental Hotel Group 61 Mar. Bryan 138 Marois, Louise 38 Marr, Bill 83 Marshall, Alisann 68, 71, 75 McClain, Temerlin 6 McDonald Davis & Associates 92 McGrath & Gavin 95 McKay, Andy 22 McOuiston, Rick 138 Mc Vey, Dennis 10 Mellon Bank 24 Men's Journal 53, 71 Meraz, Tim 89 Tim Meraz Design 89 Meyer, Mona 95 Mikich, Tripp 81 Miller, Dennis 110 Miller & Leeves Waht Miller, Suzy 103 Miner, Deb 71 Mock, Mark 106 Mark Mock Design Associates 106 Mongoose Bicycles 9 Moran, Dennis 95 Dennis Moran Design 95 Moran, Kathy 81, 143 Morin, Suzanne 59 Morla Design 99 Morla, Jennifer 99 Motorboating & Sailing 50 Mulberry 24 Mullaney, Brian 35 Munisteri, Cathleen 53

K KPMG Peat Marwick 81 Kander, Nadav 63 Kanzaki Paper 119 Kauker, Bill 124 Kendrick, Robb 116 Kennedy, Tom 81, 83, 143 Ketchum Advertising 10 Kidd, Chip 92 Klein 31 Alfred A. Knopf, Inc. 92 Kodak 112 Kratochvil, Laurie 64, 68 Krause Nadurak Eickmeyer 38 Kridle, Tim 106 Kwong, Paul 112

L Lauri , Steve 27 Life 50 Light. Ken 97 Little, Judy 9 London Sunday Times Magazine 54 Los Angeles Times Magazine 59 Loucks Atelier 119 Loucks, Jay 119 Lou is, Boston 37 Lowery, Ron 136 Lumbago 38

N NSB Norwegian Railways 10 Nadurak, Brian 38 Nancekivell Design 103 National Geographic 81, 83 Needleman, Deborah 48 The New England Journal of Public Policy 63 Federal Reserve Bank of New York 106 The News & Observer 48

Nichols, Jeff 92 Nielsen, Ed 84 Nightingale, Mark 24 Nike 13, 21, 22, 31, 35, 99 Nike Design 99 Nintendo 6 Norris, Jacqueline 32

0 Oakley, Bill 6 O'Brien. Patti 41 Ogilvy & Mather 6 Ooka, Dian-Aziza 81 Optique International Eyewear 37

p Pacific Bel I 105 Page, Harari 24 Palecek, Jane 75 Parenting 81 Patterson, Kate 54 Penfield, Art 95 Pennington, Chuck 6 Pentagram Design 100 Penton Pub Iications 13 Perrier 31 Perry, Beverly Cook 37 Peterson, Mark 21 Philadelphia Inquirer 48, 72 Piedmont High School Bird Calling Contest 31 Pinnacle Effects 21 Pitts. George 84 Polarbek 15 Pomegranate Artbooks 42, 45 Pomponi, Jami 95 Powell, Steve 105 Prestons 6 Priest. Robert 71 Primal Lite, Inc. 6

s

R RBMM 37 Ralston Purina Co. 15 Rand, Michael 54 Randolph & Tate Associates Ray, Sandra 110 Raytheon 105

Recalde, Oscar 31 Redzinak, Jim 144 Reklambyr~et Leo Burnett A/S, Oslo 10 Renfro , Doug 54 Rice, Nancy V. 47 The Richards Group 37 Richards, Todd 136 Riddell Advertising & Design 9 Riddle, Todd 13 Rieder &Walsh 24 Rigsby Design, Inc. 91, 109 Rigsby, Lana 91, 109 Robbins. Michael 59 Rolf, Susanne 72 Rolling Stone 64, 68 Romero, Michele 78 Ross, Alan 146 Roth McMahon Communications 28 Rowe, Cliff 95 Rowe, Diane 95 Royce, W. Allan 83 Rusing, Rick 9 Russo. Giovanni 71

106

Saether, Morten 10 Sailing 63 The St. Paul Companies 103 San Francisco Focus 83 Satterwhite, Audrey 84 Schatz, Howard 45 Schell, Mike 35 Schell/Mullaney 35 Scuba Diving 77 Sears 15 Seebeck, Victoria 54 Serv-Tech 91 Shands.Joe 31 Sheen, Mike 31 Shelly, David 119 Shiro, Rich 1O Silverberg, Gene 92 Simons Palmer Denton Clemmow & Johnson 22 Sinkler, Paul 115 Skouras, Angela 64 Slater, Miya Ohshima 119 Slaughter, Terry 15 SlaughterHanson Advertising 15 Slavin. Sara 99 Sloan, Cliff 27

C 0 M M U N I C A T I 0 N

A R T S

233

Complete Your Resource of Creativity [SETS OF PAST ANNUALS AVAILABLE AT SPECIAL DISCOUNTS]

Design Annuals [ ov '91 ,' 88 -

SOLD ouTJ

OV '90 A D '89... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24

OV ' 87 A D ' 86 ... ........ . .. .. ..... . .. . . . .. .... . . . . . . . $24 ov '85,'84,'83 ......... . ... . ... .. .. . .... . ...... . ........ $24

Advertising Annuals [DEC ·91 - sow ouTJ DEC '90 AND '89 ... . ....... . ............ . . . ............. $24 DEC ' 88,'87,' 86 ... ...... ... . . ........ . ... . ... . ....... . ... $24 . .. .. . . ... . $24

DEC '85,'84,' 83 .. . ... ... ... . . . . . . ... . ... .

Design and Advertising NOV/DEC ' 82,'81 ,' 80 ... ... .... .. $36 Illustration Annuals [JULY '91 -

NEARLY SOLD OUT]

JULY '92 A D '91 ... . . . .... . ..... ........ . .. . . . ... .. .. . . $24 JULY ' 90 AND '89 .. .. .. . .... .. . ... . . .. . ... .. . .... . . ..... $22 JULY ' 88,' 87,' 86 .... .. .. . . . .. . ... .. . . . .. ... . ........ .. . . . $22 JULY '85 AND '84 ... . ... . ............................... $17

Photography Annuals AUG '92 AND '91 ..... .. .. .... . . ... .. ... .. ... . .... . . . .. .. $24 AUG '90 AND '89 ........... . ...... .. ... . . .... .... . ...... $22 AUG ' 88,'87,'86 .......................................... $22

INDEX TO FIRMS, AGENCIES AND CLIENTS

The Sloan Design Group 27 Smart Creative Services 105 Smetts. Bonnie 42, 45 Smith. Jerome 99 Smith. Tom 13 Smith, Tyler 37 Sobelson. Joel 35 Solomon. Nancy 105 Sony Music Entertainment 16 Southwest Texas State University 112 Spalding, Clem 131 Stanger. Ila 66 Stevens. Bob 146 Robert Stevens Productions 146 Stewart. Tabori & Chang 41 Stockton West Burkhart 15 Stoecklein. Dave 131 Stoecklein Publishing 131 Stout, D.J. 77 Straight Arrow Publishing 53, 71 Syme. Hugh 16

AUG '85 AND '84 ...... .. . . .. . ......................... . . $17

Art Annuals [COMBINED ILLUSTRATION AND PHOTOGRAPHY] JULY/AUGUST '83,'82,'81 ....................... . ......... $22

T

w Wageman, Jim 41 Wakeman & DeForrest 27 Wall, Stacy 35 Walsh, Frank 24 Waring & LaRosa 31 Washington Post Magazine 48 Wells, Heidi Kirsten 63 Werner Chepelsky & Partners 24 West County Times 48 Westcliffe Publishers, Inc . 47 Westre. Susan 16 Whitfield, Catherine 61 Whittle Communications, Special Report 54 Wieden & Kennedy 13, 21, 22, 31, 35 Wilson/Johnson Creative. Inc. 47 Wisner. Bob 22 Woodward, Fred 64, 68 Wrangler 22 Wreszin. Daniel 9 Wyse Advertising 13

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Young, Ed 112 Young & Martin Design Yung, Nelphen 61

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Editor's Note

Ulriksen, Mark 83 Uniden America Corporation 22 United States Marine Corps 99 Upper Deck Trading Cards 27

UMBER

D MC

EXPIRATION DA TE

SIG ATURE

234

y

AME

COMPANY

0

Tan. Arty 27 Tanner. Lee 42 Tarrish. Laura 6 Laura Tarrish Design 6 Team One Advertising Texas Monthly 77 Thackaberry, Lisa 59 J. Walter Thompson 99 Tilt Inc. 38 Time 54, 66 Tisch. Katy 21 Travel Holiday 56, 66, 71, 78, 81 Travel & Leisure 66 Trumbull Corporation 95 Turner, Pete 115

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Every effort has been made to ensure that the credits comply with information supplied to us . If, for any reason, a misspelling, omission or other error has occured. notify us within thirty days and we will be able to issue corrected award certificates .

BACK ISSUES Some back issues are still available. We will refund your money on any that have sold out. All orders must be accompanied with payment. We pay the second-class postage, so allow up to three weeks to receive your shipment. Foreign orders will take longer.

May/June 1989

July 1989

September/October 1987

Photography Annual

Michael Peters ; Seymour Chwast/LeftHanded Designer; Howard Rainer; Leonard Monahan Saabye; Hin che + Associates; Lloyd Ziff; Poltroon Press Postcards; AIGA I (Boston) Conference; Index to Volume 27

CSU Poster Competition; United Way Campaign; Carbone Smolan Associates ; William Cone ; Willie Moy ; Armando Testa; Aspen ; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Adverti sing

Se tember/October 1989

March/April 1986

November 1987

$7

$7

Steinhilber & Deutsch; Per Arnoldi ' Posters; The California ; Sue Crolick; Casa Lupita Menu ; Burson-Marsteller Design Group ; Ed Soyka ; ASMP

CA-87 Design Annual

May/June 1986

January/February 1988

$7

Koppel & Scher; Skip Liepke ; WPA Posters; Ru sty Kay ; Jean Moss; The College Marketing Game

July 1986

$14

Illustration Annual

August 1986

$ 14

Photography Annual

September/October 1986

$7

Statue of Liberty Exhibit; Douglas Smith ; Colossal Pictures; Louise Fili ; James Sebastian ; Frankenberry , Laughlin & Constable; The American Advertising Museum ; Next

November 1986

$21

CA-86 Design Annual

December 1986

$2 1

CA-86 Advertising Annual

January/February 1987

$7

$7

Museum Design Competition ; Levine, Huntley , Schmidt & Beaver; Jeffrey J . Smith ; Barbara Bordnick; Sibley/ Peteet ; Car Emblems

May/June 1987

$7

John Van Dyke ; GSD&M ; Kathryn Kleinman ; Alan Cober Sends His Best; Esprit Bed & Bath; Color Predictions ; Michael Mabry; San Francisco Design Di scussion ; Ardeshir Mohasses

July 1987

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Illu stration Annual

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$ 14

$14

$21

December 1989

July 1991

$14

$14

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Se tember/October 1991

$2 1

$21

CA-89 Advertising Annual

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$7

Museum Design Competition; Mandelbaum Mooney A hley ; James Marsh ; Clients and Designers: Joseph Abboud Apparel and designer Tyler Smith ; John s + Gorman Films; Rick Ru sing ; Emery Vincent Assoc iates; Pricing & Ethical Guidelines; Exhibit

August 1991

Lewis Moberly; William Coupon ; Drenttel Doyle Partners; Anthony Russo ; McKinney & Silver; Michael Cronan ; Hans Rudi Erdt; Exhibit

November 1989

May/June 1991

llustration Annual

CA-89 Design Annu al

$7

Frankfurt Gips Balkind ; Annual Reports; James Stagg; Clients and Designer : The Nature Company and de signer Kit Hinrichs ; Office Ergonomics ; Bri an Lanker; Crispin & Porter Advertising; Alan Chan Des ign Company; Exhibit

January/February 1990

March/A ril 1992

Smart Yellow Pages; William Neill ; Art Chantry ; "Design Jobs: Fact and Fiction"; Kunio Hagio ; Heller Breene; Gene Hoffman; AIGA Conference II (San Francisco); Index to Volume 29

International Posters ; Deutsch ; Joyce Kitchell; Tim Bieber; Skolos, Wedell+ Raynor; AIGA Conference Ill (San Antonio) ; Earthquake ; Exhibit; Index to Volume 31

March/April 1988

March/April 1990

Concrete Design Communications ; Mullen Adverti sing; Cathleen Toelke ; Emigre; Bruce Hands; Slaughter Hanson ; The Changing Demographics of Design ; Color Predictions ; The City of Phoenix Logo Competition ; Exhibit

$7

$7

Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams ; Simpson's "An American Reader"; Yuri Dojc; Jack Roberts ; Exhibit; Marget Larsen

May/June 1988

$7

Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising· Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel; Nine Ways to Improve an Ad

July 1988

$14

Illustration Annual

Heinz Centennial Annual Report ; Richard Hamilton Smith ; Dyer/Kahn ; Wieden & Kennedy ; Charleen Kinser Designs; Twenty- even Chicago De igners; Magazine on Wheels; " Hold the Red Ink, Merger on the Right" ; Index to Volume 28

March/April 1987

December 1987

$21

$14

Illustration Annual

August 1989 January/February 1986

$7

Ammirati & Puris ; Computers in the Studio; Scott Morgan ; Richardson or Richardson ; Exhibit; Yesterday in CA

August 1988

July 1992

May/June 1990

September/October 1992

$7

Tim Girvin ; Pagano, Schenck & Kay; Aaron Jones; Wine Labels Get Bolder; Terrelonge Design; "Design-Speak Vs .

Communicating for Success" ; Richard Mantel ; TED 2; deGraf/Wahrman ; Exhibit

July 1990

$ 14

August 1990

$14

Tony Schwartz; Julie Lieberman ; Fran9ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer

Se tember/October 1990

$7

21

Harry De Zitter; Mercedes McDonald; Clarity Coverdale Ru eff; Aspen; James McMullan 's Mural for Lincoln Center; Exhibit; Recycled Paper; Vignelli Associates

CA-88 Design Annual

November 1990

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$2 1

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December 1990

January/February 1989

$7

CA-90 Advertising Annual

Edel tein Associates ; Myron ; Joy Radio; Muller+ Company; Pol aro id Poster Collection ; Matthew Carter; John Hersey; The Partners; Exhibit; Index to Volume 30

March/April 1989

January/February 1991

$7

Tom Hughes ; Jim Arndt ; Melissa Grimes ; Goodby , Berlin & Silverstein ; Exhibit; Design in Chicago ; Jeff Barnes; Kym Abrams ; Rick Valicenti ; Robert Petrick ; Steven Liska; Japanese Design Adventure

August 1992

$14

Photography Annual

$7

Graphic Design in China; Philip Burke; Fallon McElligott; Clients and Designers: Grand Union and Milton Glaser, Inc.; Lonnie Duka ; Oriole Park at Camden Yards; The Next Generation of London Designers; Exhibit

November 1992

$21

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21

CA-92 Advertising Annual

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$7

$14

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CA-92 Design Annual

Illustration Annual $14

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Se tember/October 1988

$7

Michael Brock; Rob Day; Great Moments in Design Tools; The Ball WCRS Partnership ; Geof Kern; Madsen & Kuester; Chiat/Day : The Book; Exhibit; Farewell to the Opulent Eighties

$7

January/February 1993

$7

$21

$21

$7

Craig Frazier; Bill Vuksanovich ; Victor Papanek ; Raymond Meier; Bartle Bogel Hegarty; Salary Survey Results; Color Predictions; Ellis Island Immi gration Museum ; Exhibit; Index to Volume 32

March/April 1991 Soviet Graphic Design ; Bill Westbrook; C.F. Payne ; Graphic Demographics; Michele Clement ; Vaughn/Wedeen Creative; Creating an Eco-Safe Office ; American Package Design; Exhibit

$7

Software Packaging Design ; Mark Fredrickson ; Morla Design; Color Predictions; OMO ; Craig Cutler ; Children's Book Illustration ; Stock Photography; Exhibit

esnadny +Schwartz; Rafa) Olbinski ; Kirshenbaum & Bond ; Clients and Designer : Lomas Financial Corporation and The Richards Group ; Malcolm Tarlofsky ; Women in Design Roundtable ; Merchandising Designers: Charles S. Anderson , Tom Bonauro , Higashi/ Glaser, Cheryl Lewin, Michael Cronan ; Exhibit

May/June 1993

$7

Margo Chase Design ; Steve Hix; Howard , Merrell & Partners; David Lanca hire; Michael Paraskevas; Doyle Dane Bernbach ; Good Design is Goodwill ; Exhibit

July 1993 Illu stration Annual

$ 14

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W.E BRETT FROOMER ON THE

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38 TH PARALLEL 38.4ln, 86.l3w, Mabel 's Garage, Pumkin Center, Indian a 6:30 pm, May 5, 1993

Simons .

(2 1 2) 682-1490 De.•i.q11: PARTNERS &

Andriulli USA .

© Br e tt Froomer I Bernstein & Separation.•: Sterling Bianca I Wa ce

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