aug1994

P H0 T0 GRAP HY A NNUA l

COMM UN ICATIO N

ARTs

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. 4/0 Sherman Avenue, Palo Alto, California 94306 Copyright 1994 by Coyne & Blanchard, Inc .

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 form without obtaining the permission of the creators and any other person or company who may have copyright ownership.

Cover: © 1994 Chip Forelli

COMMUNICATION ARTS 1994

PHOTOGRAPHY

7 ADVERTISING

32 B OOKS

46 EDITORIAL

Volume 36, Number 4

87 FoR SALE

88 INSTITUTIONAL

104 SELF-PROMOTION

125 UNPUBLISHED

ANNUAL

T E C H N 0 L 0 G Y ED I TOR A

166 T ECHNOLOGY Stephen Johnson is a photographic pioneer in the digital realm.

D DES I GNER

Patrick Coyne EXECUTIVE ED I TOR

Jean A. Coyne

175 D ESIGN TECHNOLOGY Wendy Richmond remembers Muriel Cooper and her legacy.

180 TECHNOLOGY R EVIEWS Edward B . Bigelow reviews scanning hardware and software.

CONSULT !

EDITOR A

G D DESIG

ER

Stephanie Steyer-Coyne MANAG I

G EDITOR

Anne Telford

188 TECHNOLOGY R ESOURCES Books, magazines, newsletters, seminars and training.

ASSOCIATE DESIGNER

Jane McCampbell PRODUCTIO

MA

AGER

Scott Perry

COLUMNS PRODUCTION

211 FREE-LANCE Barbara Gordon describes free-lance market survival strategies.

196 D ESIGN ISSUES Cindy Jennings explores the student's perspective of the graphic design profession.

RonNiewald Scott Teaford ADVERT ISI NG AND CIRCULAT I O DIRECTOR

Michael Krigel R ETAIL SALES

204 LEGAL AFFAIRS Susan McCartney discusses marketing nature and wildlife stock photography.

Art Carbone ADM I

216 ADVERTISING Todd Lief explains the danger of playing it safe.

I STRAT IV E

ASS I STA

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Nancy Hagemann EDITOR I AL ASSISTANT

Sue Garibaldi

D E P A R T M E N T S

154 EDITOR'S COLUMN 156 CONTRIBUTORS 160 L ETTERS TO THE EDITOR

220 BOOK R EVIEWS 224 MATERIALS, AVAILABLE LITERATURE 232 CLUBS, CONFERENCES, S EMINARS 234 INDEX TO PHOTOGRAPHERS 238 INDEX TO ART DIRECTORS, D ES IGN FIRMS , AGENCIES AND CLIENTS 242 DIRECTORY

SUBSCR IP T I ON MA

AGER

Jason Jackson SUBSCR IP T IO

• Gloria Rosario Priscilla Solera TRAFF I C MA

AGER

Lisa Marie Perez FOU

DER

Richard Coyne

,.SABc Second class postage paid at Palo Alto, California and additional offices.

Send change of address notification at least 45 days prior to effective date, include both old and new addresses.

Postmaster: Send address changes to Communication Arts P.O. Box 10300 410 Sherman Avenue Palo Alto, California 94303 Editeur responsable (Belgique): Christian Desmet Vuurgatstraat 92, 3090 Overijse Belgique

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ADVERTISING

1 (series) Craig Cutler. photographer Barb Paulini, art director Hoffman York & Compton. ad agency Weather Shield Manufacturing Company, Visions 2000, client Ads for vinyl windows . Headline for each ad : Some of the more common natural materials found in today's homes.

2 Antony Nagelmann, photographer Dan Vendetti, art director/designer Conde Nast Vanity Fair, client Ad for the magazine . Headline: Splendors of Spring .

3 Pete McArthur. photographer Patty H.P. Mi. art director Ogilvy & Mather Direct. ad agency Microsoft. client

Product brochure showing ten reasons to switch to Microsoft.

Reason number five .

4 Andreas Heumann, photographer/art director Harvey Nichols. client 4

Ad headline : Take the stairway, lifts or escalator to heaven this Christmas .

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ADVERTISING

1 (series) Iva von Renner, photographer Daniele Cima. art director Impact ltalia, ad agency Arimo, client Ad campaign . Headline: Let's try to make the Italians as beautiful as Italy is .

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Trevor Ray Hart. photographer Paul West/Paula Benson, art directors Form, design firm Beechwood Record Co ., client Compilation's record "Independent 20 ."

2 Chris Sheehan, Parallel Productions, photographer Larae Netten, art director Colle & McVoy, Inc ., ad agency SmithKiine Beecham Animal Health, client

Trade ad headline: Giving sulfas several times a day is a major cause of pi Ilitis.

3 (series) Malcolm Venville , photographer Stuart Buckley, art director BMP OOB Needham Worldwide, Ltd ., ad agency British Gas, client Ad headlines: Spot the boiler. Now your central heating can have a schedule as busy as yours .

A Combi boiler could save you this much space .

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1 (series) Scott Morgan, photographer Bill Thorburn, art director Dayton Hudson, Department Store Division , client Series of invitations and posters with the theme of world culture and dance for fashion shows throughout the United States .

2 David Katzenstein, photographer Stacy Drummond, art director Sony Music, client CD cover for Schooly D, "Welcome to America ."

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Nadav Kander, photographer Kevin Redman, art director Gap Advertising, ad agency Gap Boots USA, client Consumer ad .

2 (series) Lars Topelmann, photographer Kurt Reifschneider, art director Brett Borders, writer Left Brain Creative, ad agency Paws, client Posters for animal adoption agency. Headlines: Scooter turned and froze . Damn the cursed paparazzi, would their incessant quest to capture him in a compromising position never cease? Nicole's thoughts drifted into the future, to a time when the entire kingdom would be hers and she'd drink from any toilet she fancied . Not long after overcoming yet another law of physics, Barney returned to shore and proceeded to lick himself with abandon .

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Hans Neleman, photographer Kevin Redman, art director Gap, Inc., design Gap Shoes, client Store display.

2 (series) David Allan Brandt, photographer Kinson Chan, art director Live Communications, Ltd ., ad agency Jeffery West Footwear, client Ad headlines: Search for a Higher Ground .

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ADVERTISING

Richard Mummery, photographer Philip Forster. art director Carmel Said, set designer Collett. Dickenson. Pearce & Partners. ad agency Benson & Hedges, client One from an ad campaign . Headline: Washing up nightmare?

2 Chuck Kuhn. photographer Chuck Kuhn/Bob Breno. art directors Mintz & Hoke Inc .. ad agency Centerline. client Software ad .

3 (series) Gary Hush. photographer Joe Shands. art director David Baldwin, writer Cole & Weber. ad agency London Underground International, client Campaign to create highly stylized product images. Dr. Martens 3Eyelet Gibson; Dr. Martens Kid's 5-Eyelet Boot; Dr. Martens Women's Mary Jane.

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1 Bob Miller, photographer Rick McQuiston, art director Wieden & Kennedy, ad agency Nike, Inc., client

Consumer ad .

2 Peter Seaward, photographer Russell Ramsey, art director Bartle Bogle Hegarty, ad agency Audi, client Ad headline: Three brains decide how hard the Audi brakes. Only one of them is the driver's.

3 Ed Nielsen, photographer Tim Morgan, art director Michael Kerbow, !magic, designer/illustrator Dazai Advertising, ad agency Advanced Computer Communications, client Ad for a router.

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4 Nadav Kander, photographer Kevin Redman, art director Gap Advertising, ad agency Gap Boots USA, client Consumer ad.

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ADVERTISING

Bob Krist. photographer Monte Hal is. art director Rich Russo. creative director Halis/Russo. design firm Ogilvy & Mather, ad agency Travel & Leisure. client Promotional ad for the magazine.

Headline: Traveling isn't a reward for working . It's homework for living.

2 (series) Sue Bennett. photographer Steve Hall. art director/designer Rumrill Hoyt. ad agency Du Pont. client Ad campaign for a herbicide. Headline: The people who go no-till. go Extrazi ne II.

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ADVERTISING

1 (series) Miles Lowry, photographer Scott Pettit. art director Rhea & Kaiser. ad agency Rhone-Poulenc, client Direct mail brochure for cotton growers.

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1 (series) Joanne Dugan, photographer Ann Lemon, designer Ann Lemon Design, design firm Postcards, client Instruments O'f jazz masters shot for inside CD covers of this New York-based jazz label. Musicians include Reggie Workman, Gary Peacock, Paul Bley, Ralph Simon and Allen Pasqua.

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Lars Topelmann, photographer Mike Sheen/Joe Shands, art directors David Baldwin, writer Cole & Weber, ad agency London Underground International, client Ad headline: As it turns out. Dr. Martens has been making running shoes for over 30 years .

2 Andreas Heumann, photographer Terence Stevens, art director The Leith Agency, ad agency Gala Bingo Clubs. client Poster "Two Fat Ladies," relates to the number 88 in the game of bingo.

3 (series) Ron Fehling, photographer Duncan Bruce, art director Philippe Garneau, writer Chiat/Day/Toronto, ad agency Toshiba of Canada Ltd., client Ads to demonstrate the durability of the computers. Headlines: Next Monday morning around 345 Canadians will pour themselves a nice hot cup of coffee they will never get to enjoy. In the course of a business day 56% of all executives will forget at least one important thing they were supposed to do . This summer over 145 backyard home runs will find a home.

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David Gaz. photographer Patrick Lamboy, art director Ariane Lecourt. designer Green Art. agency/design/client Ad for a chain of florist's shops 2 (series) Nadav Kander. photographer Warren Eakins. art director Wieden & Kennedy-Amsterdam, ad agency Nike International. client

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Sean M. Smith, photographer/art director/designer RCA Records/Cowboy Junkies, clients Trade ad for album "Pale Sun, Crescent Moon," promoting single selection "Anniversary Song."

2 Paul Aresu , photographer AI Conner, art director Adler Boschetto Peebles & Partners, ad agency The Nashville Network, client Promotion for "Music City Tonight" program .

3 Will van Overbeek, photographer Terry Rietta/Wade Devers, art directors Pagano, Schenck & Kay, Inc., ad agency PC Magazine, client Ad headline: Things media planners rarely see .

BooKs 4 Frans Lanting, photographer Lucille Tenazas, art director/designer Tenazas Design , design firm Chronicle Books, client

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Selection from Okavango, Africa's Last Eden.

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B OOKS

1 (series) Steven Rothfeld, photographer Lia Camara, designer Workman Publishing Company, Inc., client

French Dreams is an impressionistic view of France, using the Polaroid transfer process. Arcade, Paris; Statue, Versailles; Chateau, Le Buisson; Roses, Regagnac; Dappled landscape, Tle-de-France .

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B OOKS

1 (series) Mark Edward Atkinson, photographer/art director William Owen, designer Otto Visual Arts, design firm Operation Smile International, client

A Smile is the Beginning chronicles the work of Operation Smile, a volunteer medical organization that performs free cranial, facial and burn scar surgeries on children worldwide.

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BOOKS

1 (series) Chip Cooper, photographer Laura Woelfei-Madison, art director/designer Laura Woelfei-Madison Design, design firm CKM Press. publisher The University of Alabama, Division of Student Affairs. client Used as a fund raiser for Student Affairs. Silent in the Land depicts styles and periods of Southern architecture. Whether abandoned, declining or maintained. the houses speak volumes about the history of the countryside, even though these mute structures are silent in the land.

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1 (series) Eric Lawton. photographer Phil Cousineau. editor Oetta Penna. designer HarperSan Francisco. division of HarperCollins Publisher. client Photographs from around the world are paired with eclectic passages by diverse thinkers for The Soul of the World. A Modern Book of Hours: Zabriskie Point. Death Valley, California; Temple Pond. Suzhou.

China; Yangshuo. China; Machapuchare. Nepal; Taos Pueblo. New Mexico.

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BOOKS

1 (series) Kathryn Kleinman, photographer Kathryn Kleinman/Michaele Thunen, art directors Jennifer Barry, designer Michaele Thunen, stylist CollinsPublishers San Francisco, client A garden-inspired book, Souvenirs, illustrates nature's gifts gathered and presented throughout the seasons.

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B ooKs Walter looss. Jr.. photographer Michael McMillan. art director John Vieceli. designer McMillan Associates, design firm CollinsPublishers San Francisco. client Cover of Rare Air. a photographic autobiography

by Michael Jordan.

2 (series) Rodney Smith, photographer Leslie Smolan. art director Jennifer Domer, designer Carbone Smolan Associates. design firm Nan A. Talese. Doubleday, client Interior photographs from The Hat Book.

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EDITORIAL

1 (series) Larry C. Price, Contact Press Images, photographer Bert Fox, art director/designer Philadelphia Inquirer Magazine, client Romania's abandoned children fend for themselves.

"Throwaways ."

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1 Amy Guip. photographer David Armaria. art director/designer Discover. client

"Death at the Corners ." A spate of sudden deaths in the Southwest has revealed a new viral villain.

2 Dan Borris, photographer Fred Woodward, art director Rolling Stone, client "Technopop, Civilizing Cyberspace," an interview with Mitch Kapor. the founder of Lotus software.

3 Bob Sacha. photographer Lou Dilorenzo. art director Bill Black, director of photography Stephanie Syrop, picture editor Margaret Staats Simmons. editor-in-chief Travel Holiday, client The gateway arch glitters in the sun. "St. Louis ."

4 (series) Mark Seliger. photographer Fred Woodward. art director Rolling Stone. client "A Lasting Impression," an interview with Curtis Mayfield.

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1 (series) Don Freeman, photographer Antoine Keiffer. art director French Vogue , client "Dressed Up Scents ." The photographs convey the floral ingredients as well as the shapes of the bottles .

2 Mark Richards, photographer Diane Doka, art director Tripp Mikich. photo editor Lisa Hilgars, designer Parenting, client "Coping With Colic ."

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EDITORIAL

1 (series) Ruven Afanador, photographer David Armaria. art director/designer Discover. client For ten years, two zealous. self-appointed investigators of scientific fraud made headlines and enemies. "Science Police ."

2 Antonin Kratochvil, photographer Lou Dilorenzo, art director Bill Black, director of photography Stephanie Syrop, picture editor Margaret Staats Simmons. editor-in-chief Travel Holiday, client The Prater Park ferris wheel. built for the 1896 world exhibition in Vienna.

3 William Mercer Mcleod. photographer Mary Dunn, photography director Entertainment Weekly, client Portrait of mystery writer Peter Straub .

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1 (series) Pat Crowe, photographer Craig Winkelman, art director Outdoor & Travel Photography, client Magazine essay on the people of Ireland, "Irish Eyes ."

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Limor lnbar. photographer Paul Lussier, associate art director Michele Stephenson. picture editor Mary Worrell. assistant picture editor Time. client "Gay Parents : Under Fire and on the Rise ."

Lesbian parents play ball with their two daughters on the roof of their New York apartment.

2 Gerd Ludwig, photographer David Griffin. designer Susan Welchman, picture editor Tom Kennedy, director of photography National Geographic, client

A coal miner scrubs down after a day in the pits outside Donetsk. Ukraine. "Broken Empire ."

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Karen Kuehn, photographer Lou Dilorenzo, art director Bill Black. director of photography Stephanie Syrop, picture editor Margaret Staats Simmons. editor-in-chief Travel Holiday, client A kiva in New Mexico where Pueblo men gathered for ceremonies, "American Moments."

4 Steve Payne. photographer Gudrun Haraldsson, art director The Globe and Mail. client Profile of author Margaret Gibson and review of Sweet Poison. her first book in fifteen years after a misdiagnosis of mental illness.

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Antonin Kratochvil. photographer Lou Dilorenzo. art director Bill Black, director of photography Stephanie Syrop, picture editor Margaret Staats Simmons, editor-in-chief Travel Holiday, client The 13th century courtyard of the Imperial Palace in Vienna gets an overhaul.

2 Robb Kendrick, photographer Tom Kennedy, director of photography Dennis Dimick, picture editor Bill Graves. editor National Geographic, client "Rice & Religion ." An Indian girl is blessed by a temple elephant in Madras. India. for making an offering of rice to the temple .

3 Matuschka, photographer Wolfgang Behnken. art director Stern. client "Classic Nude" is a self-portrait of the photographer.

4 Dan Winters. photographer Mary Dunn, photography director Mark Jacobson. assistant picture editor Entertainment Weekly, client Portrait of rapper Dr. Ore, "The Entertainers of the Year."

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EDITORIAL

1 (series) Andre Panneton, photographer Jean-Marc Martin, art director Dick Walsh. style director Christiane Valcourt. hand-coloring Elle Quebec, client Fashion editorial . "Botero's Women ."

2 Tim Page, Reportage Photos, photographer David Friend, photo editor Life, client United Nations helicopters hover overhead in an effort to police elections in Cambodia, "In the Whirlwind ."

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EDITORIAL

Geof Kern. photographer David Armaria, art director/designer Discover. client "The Vision Thing : Mainly in the Brain." The eye and brain work in partnership to interpret conflicting signals from the outside world .

2 Karen Kasmauski , photographer David Arnold, illustration editor Bill Marr, designer National Geographic, client Article titled "Viruses ." This gay ex-Mormon, dying of AIDS, has not seen his daughter for eight years since he declared his homosexuality.

3 (series) Hakan Ludwigson. photographer Diana LaGuardia, design director Conde Nast Traveler. client Article about the best beaches in Mexico.

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EDITORIAL

1 (series) Scogin Mayo, photographer D. J. Stout, art director D. J. Stout/Nancy McMillen, designers Texas Monthly, cl ient "Manhunt at Manard Creek." Surrounded by snarling dogs, a thief drowns in a muddy slough after a two-day chase through the big thicket.

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EDITORIAL

Matuschka, photographer Janet Froelich, art director Julie Skarratt, stylist The New York Times Magazine, client Cover, "Beauty Out of Damage ."

2 Alistair Morrison, photographer Mary Dunn, photography director Doris Brautigan, picture editor Entertainment Weekly, client Portrait of actor Daniel Day-Lewis, "The Unbearable Politeness of Being ."

3 (series) Ernest H. Brooks, II, photographer Charlene deJori, art director/designer Charlene deJori/Cheryl Scharp, editors Ocean Realm, client Article teaching the techniques of black-and-white underwater photography, "Seeing the Light."

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EDITORIAL

1 R. lan Lloyd, photographer Marcello Biagioni , art director Photo Life, client

2 (series) Rodney Smith, photographer Dennis Freedman, art director Robert Bryan, fashion editor W, Fairchild Publications, client "Keep it Simple." Portfolio of men's fall clothes .

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EDITORIAL

Dan Winters, photographer Mary Dunn, photography director Mark Jacobson, assistant picture editor Entertainment Weekly, client Portrait of actor John Malkovich, "The Touch of Evil."

2 Michele McDonald, photographer Joanne Rathe, photo editor Boston Globe. client

"A Province's Parallel Societies ." An Albanian child smokes a cigarette in Pristina, capital of Kosovo, where schools that taught children in Albanian have been closed.

3 Christian Belpaire , photographer Lindsay Beadry, art director Toronto Magazine, Globe and Mail, client "The Agony & The Agony."

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EDITORIAL

1 (series) Raymond Meeks, photographer Matthew Drace , art director/designer Travel & Leisure, American Express Publishing, client "East Germany Revisited, " an American searches for the land of his youth .

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1 (series) Matt Mahurin. photographer Paul Lussier, associate art director Michele Stephenson, picture editor Mary Worrell, assistant picture editor Time. client "Is Freud Dead?"

2 Nita Winter, photographer Paul Richer. art director Rebecca Herman. editor Children's Television Workshop, Sesame Street Magazine. client Funnel cloud demonstration at the San Francisco Exploratorium, "Let's Explore ."

3 Michael Melford. photographer Lou Dilorenzo. art director Bill Black. director of photography Stephanie Syrop, picture editor Margaret Staats Simmons, editor-in-chief Travel Holiday, client

"Bermuda ." It's 185 steps to the top of Gibbs Hill Lighthouse. built in 1846.

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EDITORIAL

Patrick Harbron, photographer Carmen Ounjko, art director/designer Saturday Night, client Magazine portrait of comedian Jim Carrey, "Jim Carrey's Comic Twists ."

2 John Oyer, photographer Matthew Stockman, photography editor John Meek, designer Vince Aversano, editor Inside Sports, client "Dennis Rodman : A Worm of a Different Color." From his ever-changing hair to his deliberately one-sided game. this Spur never simply goes with the flow.

3 James Nachtwey, photographer Paul Lussier, associate art director Michele Stephenson, picture editor Robert Steven, associate picture editor Time, client A famine victim in Sudan receives rehydration salts at a feeding center.

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Karen Kuehn, photographer Lou Dilorenzo. art director Bill Black, director of photography Stephanie Syrop, picture editor Margaret Staats Simmons, editor-in-chief Travel Holiday, client "Redwood." View of unspoiled coastline from a redwood forest.

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EDITORIAL

Cameron Davidson . photographer Alan Carroll. art director Connie Phelps , designer Larry Nighswander. picture editor Tom Kennedy, director of photography National Geographic. client "Andrew Aftermath." article on Hurricane Andrew.

2 Peggy Sirota. photographer Mary Dunn. photography director Mark Jacobson. assistant picture editor Entertainment Weekly, client Portrait of actor-director Jodie Foster. "Meet the New Boss."

3 Bob Krist. photographer Lou Dilorenzo. art director Bill Black. director of photography Stephanie Syrop, picture editor Margaret Staats Simmons. editor-in-chief Travel Holiday, client "1, the Camera" portrait of "de pipe man ," a local character on the island of St. Croix.

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EDITORIAL

Jeff Mermelstein, photographer Kathy Ryan, photography editor The New York Times Magazine, client "Into the Pit." Report on the latest dance craze, mashing .

2 Antonin Kratochvil , photographer Lou Dilorenzo, art director Bill Black, director of photography Stephanie Syrop, picture editor Margaret Staats Simmons, editor-in-chief Travel Holiday, client Boys on horseback at the Crow Indian Reservation in Montana, reenact Custer's defeat at Little Bighorn , "American Moments."

3 Ruven Afanador, photographer Mary Dunn, photography director Doris Brautigan, picture editor Entertainment Weekly, client Portrait of actor AI Pacino, "And Justice for AI." 4 Rino Nato, photographer Gudrun Haraldsson, designer/editor The Globe and Mail, client

"The Nature of Farley," a profile of Farley Mowat, author of over 30 books, appeared in the arts and books section . Sea of Slaughter was his 1984 chronicle of the environmental destruction in eastern North America .

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EDITORIAL

1 (series) Ed Kashi, photographer John Echave, photography editor Bill Marr. designer National Geographic, client Cover article, "Water in the Middle East."

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EDITORIAL

1 (series) Tom Ryan, photographer D. J. Stout. art director D. J. Stout/Nancy McMillen, designers Texas Monthly, client "Cream of the Crops ," a tribute to Texas's favorite growing places.

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EDITORIAL

1 (series) Edward Gajdel, photographer Jill Armus, associate art director Michael Grossman, design director Mary Dunn, photography director Alice Babcock, picture editor Entertainment Weekly, client Article on Michael Richards, "Kramer vs . Kramer."

FOR SALE

2 James Arrabito, photographer/client Note card and poster.

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INSTITUTIONAL

Michele Clement. photographer Conrad Jorgensen, art director Conrad Jorgensen/Larry Anderson, designers Studio 2, design firm Resound, client Annual report image for Resound, maker of a new type of hearing aid .

2 Michael Kressley, photographer Brianne Hurley, art director Thermo Cardia, client/design Commissioned for the 1993 annual report relating information about the innovative mechanical heart and its manufacture.

3 (series) John Huet. photographer Michele Mangiacotti, designer Doyle Advertising and Design Group, ad agency Saucony Athletic Shoes, client Saucony fall catalog .

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A R T S

89

90

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 4

2

INSTITUTIONAL

1 (series) James Robinson, photographer Benjamin Bailey, designer Frankfurt Balkind Partners. design firm The Seagram Company Ltd ., client 1993 annual report. Budapest. Hungary, is restoring its architecture and revitalizing its tourist industry.

2 (series) Fredrik Broden. photographer Tim Evans, art director Evans and Associates. design firm Voluntary Hospitals of America , client Illustrations of people involved in the hospital.

COMMUNICATIO

A R T S

91

INSTITUTIONAL

1 (series) Eileen Hohmuth-Lemonick, photographer Raju Chitraker. art director Dale Davis/Kavre Community Based Rehabilitation Project Team. designers Comex Communications Exponents. ad agency Helen Keller International/Nepal Association for the Welfare of the Blind. clients Calendar.

92

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 4

C 0 M M U N I C AT I 0 N

A RT S

93

INSTITUTIONAL

David Mendelsohn, photographer/art director Terry Hyland/Marie Hyland, designers Cabletron Systems, client Annual report photograph of rural Ireland, to illustrate the company's locations abroad .

2 (series) Chris Shinn, photographer Lana Rigsby, designer Rigsby Design, design firm Belmont Constructors, Inc., client Capabilities brochure.

2

94

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 4

C 0 M M U N I C AT I 0 N

A RT S

95

2

96

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 4

3

INSTITUTIONAL

1 (series) Michael Kressley, photographer Michael Kressley/Eric Bornstein. art directors Behind the Mask. client Promotional images for a maskmaker used in a printed piece and a poster.

2 Yuri Dojc. photographer Pro Passport. design Eastman Kodak Company, client "Steel Teeth ." Back cover of company publication.

3 Randy Mayor. photographer Jeff Gregory, art director Alice Elliott. designer Perry, Harper & Perry, ad agency American Red Cross. Birmingham Chapter. client Cover of the 1993 annual report.

4 Louie Palu. photographer Hans Pellikaan. art director Stratagem Marketing and Design, design firm Aur Resources Inc .. client

4

Annual report.

C 0 M M U N l C A T l 0 N

A R T S

97

INSTITUTIONAL

1 (series) Michael P. Morgan, photographer/designer Jessica Xavier, art director Outlook Eyewear Co./Bausch & Lomb Inc., clients Catalog .

98

P H 0 T 0 G R A P H Y

A

N U A L

I 9 9 4

C 0 M M U N I C AT I 0 N

A R T S

99

INSTITUTIONAL

1 Key Sanders, photographer Michael Clarke, designer Michael Clarke Design , design firm Covenant House. client

Annual report.

2 Russ Schleipman, photographer Tom Morin, designer Context. design firm United Technologies, client Annual report photograph depicts an important Asian market for the Pratt & Whitney subsidiary.

3 (series) Anthony Arciero, photographer Kevin Kuester/Bob Goebel, art directors Bob Goebel, designer The Kuester Group, design firm Walden University, client Promotional brochure .

2

] 00

P H 0 T 0 G R A P H Y

A

N U A L

I 9 9 4

3

COMMU

ICATIO

ARTS

101

102

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 4

INSTITUTIONAL

1 (series) Arthur Meyerson. photographer Arnold Saks. designer Arnold Saks Associates. design firm Overseas Shipholding Group. client Annual report.

2 Robb Kendrick, photographer Andy Dearwater. designer Dearwater Design, design firm Herman Hospital. client Portrait of burn victim, Larry Sam. in a pressure suit for institutional magazine article, "Against All Odds."

2

C 0 M M U N l C AT l 0 N

A R T S

103

INSTITUTIONAL

Adrian Ordeiiana, photographer Leslie Hanna, art director San Francisco AIDS Foundation. client Institutional newsletter, "Positive News." The article concerns housing discrimination for people affl icted with HIV/AIDS .

2 Mark Wiens. photographer Shawn Money, designer HG Design, design firm Public Relations Society of America. client Brochure photograph depicts a tool used in pub lic relations.

SELF- PROMOTION

3 (series) Sari Makki, photographer Mailers to art directors. 8 x 10 Polaroid, mix of color and sepia .

2

] 04

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 4

COMMU

ICATIO

ARTS

105

2

] 06

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 4

3

SELF-PROMOTION

Daniel De Souza. photographer/art director/client Leave-behind printed sample .

2 Dan Wilby, photographer Promotional postcard .

3 (series) James Salzano. photographer Jon Parkinson. designer Source book ads .

C 0 M M U N I C AT I 0 N

A R T S

107

] 08

P H 0 T 0 G R A P H Y

A N N U A L

1 9 9 4

2

SELF-PROMOTION

1 (series) Craig Cutler. photographer Tom Wood. designer Wood Design, design firm Mailer.

2 RJ Muna. photographer/art director/designer Source book ad .

3 Hal Silverman. photographer Bob Fucinato, art director Tom Collins. designer Hal Silverman Studio. Inc .. client Printed promotion .

3

C 0 M M U

I C AT I 0 N

A R T S

109

SELF-PROMOTION

1 (series) Lynn Sugarman, photographer/client Lynn Sugarman/Paula Scher, art directors Paula Scher, designer Pentagram, design firm Promotional booklet. "After."

110

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 4

COMMUNICATION

ARTS

Jlj

SELF-PROMOTION

Ed Nielsen. photographer Chris Dean. Anderson & Lembke. art director Michael Kerbow. lmagic. designer/illustrator lmagic. client Poster. "Spirit of Christmas."

2 George Simhoni. photographer/client Partners Ill. art studio Source book ad. "Nuclear Synchro Swimmers ."

3 (series) Oe/Ueda. photographer/client John Clark/Oe/Ueda. designers Looking, design firm Booklet.

2

112

P H 0 T 0 G R A PH Y

A N N U A L

1 9 9 4

3

C 0 M M U N I C AT 1 0 N

A R T S

113

SELF- PROMOTION

Don Glentzer, photographer Jay Loucks, art director Chuck Thurman, designer Loucks Atelier, design firm Art Directors Club of Houston, client Mailer to solicit donations for the club's art auction.

2 Parish Kohanim , photographer/designer Parish Kohanim Studio, client Direct mail and source book ad .

3 Tim Bieber, photographer/client Steve Liska, designer Liska & Associates, design firm Calendar page, Harlem, New York.

4 Mark Clifford, photographer/art director Mark Clifford Photography, client

Studio Christmas card .

114

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 4

3

4

COMMUNICATION

ARTS

115

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PH 0 T 0 G R A PH Y

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SELF-PROMOTION

1 (series) Sean Kernan, photographer/designer Sean Kernan, Inc., client Calendar.

COMMU

I CAT I 0

ARTS

117

SELF-PROMOTION

Susan Ashukian. photographer/art director/client Studio Christmas card, "Peace on Earth ."

2 Heimo, photographer Kara Wetherby, art director Heimo Inc .. client Mailer and leave-behind.

3 (series) Hans Neleman. photographer Hans Wolf. art director Bas Van Der Paardt, designer Art Directors Club of the Netherlands, client Award program booklet.

2

118

PHOTOGRAPHY

A

NUAL

1994

3

C 0 M M U N I C AT I 0 N

A R T S

119

SELF-PROMOTION

1 (series) Jay Corbett. photographer Mark Von Ulrich, designer Design Thing, design firm Source book ads.

2 Curtis Johnson, Jim Arndt Photography, photographer/client Curtis Johnson, art director Mailer.

3 RJ Muna, photographer/art director/designer Source book ad .

120

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 4

2

3

C 0 M M U N I C AT I 0 N

A R T S

121

2

122

PH 0 T 0 G R A PH Y

A N N U A L

1 9 9 4

3

SELF-PROMOTION

Stewart Tilger, photographer Luane Bice, designer Bice Design, design firm Stewart Tilger Photography, client Directory image.

2 Scott Barrow, photographer Karen Beckwith, art director Theresa Kraft, designer Beckwith Barrow, Ltd ., design firm Scott Barrow, Inc., client Source book ad .

3 Daniel De Souza, photographer/art director/client Leave-behind .

4 Dominique Malaterre, Tilt Inc., photographer/art director Tilt Inc., client "Who said you could be blinded by love?" Promotion handdelivered on St. Valentine 's Day.

4

C 0 M M U N I C AT I 0 N

A RT S

123

124

P H 0 T 0 G R A P H Y

A N N U A L

I 9 9 4

2

SELF-PROMOTION

1 (series) Scott Ferguson/Mark Katzman, Ferguson & Katzman Photography, photographers/art directors Renee Walsh, designer Pfeiffer+ Company, design firm Reprox Printing of St. Louis, client Brochure to promote waterless press .

2 Paul Mutino, photographer/art director Leave-behind .

UNPUBLISHED

3 Kay Canavino, photographer "Night-blooming Cereus/Double Dead ." © 1994 Kay Canavino

3

C 0 M M U N I C AT I 0 N

A R T S

125

UNPUBLISHED

1 J. W. Burkey, photographer

Demonstration of the studio's digital capabilities. © 1994 J W. Burkey

2 (series) Chip Forelli, photographer/art director/client © 1994 Chip Forelli

2

126

P H 0 T 0 G R A P H Y

A N N U A L

19 9 4

C 0 M M U

I CAT I 0 N

ARTS

127

UNPUBLISHED

1 Les Ward. photographer

Portfolio sample . © 1994 Les Ward

2 (series) Raymond Meeks. photographer Matthew Drace. art director Outtakes from Men's Journal article on Romania. © 1994 Raymond Meeks

2

128

P H 0 T 0 G R A P H Y

A N N U A L

19 9 4

C 0 M M UN I CAT I 0 N

ARTS

129

130

PHOTOGRAPHY

ANNUAL

1994

UNPUBLISHED

1 (series) Pete Lacker, photographer Ken Phillips, art director Personal photographs of old games. © 1994 Pete Lacker

2 Peter Dazeley, photographer "Sunflower." Polaroid emulsion transfer manipulated on cartridge paper. © 1994 Peter Dazeley

3 Robert David Atkinson. photographer Portfolio piece. © 1994 Robert David Atkinson

3

COMMUNICATION

ARTS

131

UNPUBLISHED

1 (series) Jennifer Krogh, photographer/art director Eastern State Penitentiary in Phi ladelphia. © 1994 Jennifer Krogh

2 John Cleveland Garofalo, photographer © 1994 John Cleveland Garofalo

3 Ed Kashi, photographer A living community in Cairo's cemetery, "The City of the Dead ." © 1994 Ed Kashi

132

PHOTOGRAPHY

ANNUAL

1994

2

3

C 0 M M UN I CAT I 0 N

ARTS

133

134

PHOTOGRAPHY

ANNUAL

1994

2

UNPUBLISHED

1 (series) Mark Laita. photographer/art director Three of a series of toned black-and-white prints . © 1994 Mark Laita

2 Dale Higgins, photographer "I Got Milk." © 1994 Dale Higgins

3 Eric Mencher. photographer One from a series based on the premise that life imitates art. © 1994 Eric Mencher

3

COMMU

ICATIO

ARTS

135

UNPUBLISHED

1 Bob Blankenship, photographer/art director

Study of the Schloss Furnaces in Birmingham, Alabama . © 1994 Bob Blankenship

2 Jamie Tanaka, photographer © 1994 Jamie Tanaka

3 (series) Fredrik Broden, photographer "Beach People ." © 1994 Fredrik Braden

2

136

PH 0 T 0 G R A P H Y

A N N U A L

I 9 9 4

3

C 0 M M UN I CAT I 0 N

ARTS

137

138

PH 0 T 0 GRAPH Y

ANNUAL

19 9 4

UNPUBLISHED

1 (series) Jim Erickson, photographer India portfolio. © 1994 Jim Erickson

2 David Humphreys, photographer/art director Portfolio/show piece, "One Religion." © 1994 David Humphreys

C 0 M M U N I C AT I 0 N

A R T S

139

UNPUBLISHED

1 (series) Marcy J. Appelbaum, photographer "Family Series ." © 1994 Marcy J. Appelbaum

140

P H 0 T 0 G R A P H Y

A N

U A L

I 9 9 4

C 0 M M UN I C AT I 0 N

A R T S

141

142

PH 0 T 0 GRAPH Y

ANN U A L

1 9 9 4

UNPUBLISHED

1 (series) Hector E. Prida, photographer Personal project. © 1994 Hector E. Prida

2 Jim Erickson, photographer Self-assignment in Mexico, "Bullpen ." © 1994 Jim Erickson

2

C 0 M M UN I CAT I 0 N

ART S

143

144

P H 0 T 0 G R A P H Y

A N N U A L

l 9 9 4

UNPUBLISHED

1 (series) Duncan McNicol, photographer Reed cutter in Norfolk, England . © 1994 Duncan McNicol

2 Greg Slater, photographer/art director © 1994 Greg Slater

C 0 M M UN I CAT I 0 N

ARTS

145

UNPUBLISHED

1 (series) Sarah Fawcett. photographer Photographs from ongoing personal project. "Memorial Day, San Francisco. Remembering War." © 1994 Sarah Fawcett

146

P H 0 T 0 G R A PH Y

ANN U A L

I 9 9 4

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It contains 6o % total recovered fiber including 20% post-consumer

waste, yet irs smooth, level surface is ideal for all printing techniques and a wide range of applications.

Strathmore Elements is for those searching for a unique surface on which to communicate their design vision. To receive a swatchbook, call r-Soo-423-7313.

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Massachusetts

EDITOR'S

COLUMN

PATRICK COYNE

HIS YEAR'S PHOTOGRAPHY ANNUAL competition is the second largest we've ever sponsored-6,622 entries. With only 165 entries selected, it was also one of the toughest to make.

The reason for the lower number of individual entries (179 were chosen last year) is the higher number of campaigns and series selected by the jurors. But campaigns can contain up to five images so you're actually seeing more images this year (347 versus 306 in 1993).

T

When reviewing the work you will notice the dominance of black-and-white photography, a trend I thought had reached its peak a few years ago. Conversely, we saw lots of gels used to saturate color in many of the color photographs.

Because of the large number of series chosen, we saw declines within most categories except books and selfpromotion. In fact, self-promotion grew more than 100% over last year. A sign of the times?

0

The jurying process, like our weather, has remained reletively unchanged over the years. Unfortunately, this year's jurying began on an unusually cold, rainy Sunday morning.

We worked in two large conference halls, each equipped with a projector for slide entries and five rows of tables for tearsheets, proofs and large transparencies.

The jurors worked in two groups of three with Jean Coyne and myself alternating as the sixth judge during the screening process. All but the smallest categories had been split so each team screened half of the entries submitted. The jurors alternated between viewing a carousel of slides and then a set-up of print entries.

Any juror could place a photograph in the finals by handing a printed piece to a member of the CA crew or by checking the "in" column on our prepared scoring sheets used while viewing slides.

The final voting took place on Monday with all five jurors working together. Print entries were again spread out on the tables. Two paper cups, one white for "in," the other red for "out," with slots cut in the bottom, were placed upside down to the right of the pieces. The jurors voted by putting a colored tile into the bottom of the appropriate cup. The different colored tiles allow us to make sure that every entry has been voted on by every juror.

Finalists submitted on slides were again voted on by each juror checking "in" or "out" on scoring sheets.

Four or more votes put an entry into the Annual. These accepted entries were treated as equals in the design of the Annual. Decisions on size and placement are 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 conscientious efforts in making the selections for the 35th Annual Exhibition.

154

P H 0 T 0 G R A P H Y

A N N U A L

19 9 4

CHRISTOPHER AUSTOPCHUK is vice president of creative

services for Sony Music/East Coast and design consultant for Parade magazine. He is also a professor at The School of Visual Arts in New York. Austopchuk worked for Conde Nast Publications, Rolling Stone and Pushpin Studios, Inc., as well as Random House, Mobil and the Limited Editions Club. Chris has received over 300 awards for his design and art direction.

MICHELE CLEMENT, a New Jersey native, moved to

Southern California where she attended Art Center College and studied graphic design. While working on design projects at night, she assisted several fashion and advertising photographers during the day, until she opened her own San Francisco photography studio in 1980. She has created images for Polaroid, Royalton Sheets, Lotus, Physician's Formula, Jenny Craig and Baby Guess. Michele's photoillustrations and celebrity portraits have appeared in Newsweek, Movieline , Rolling Stone and the New York Times as well as on Capitol, Electra, Windham Hill and Geffen Record covers.

DIANA LAGUARDIA is the design director of Conde Nast

Traveler in New York. LaGuardia began her career at a small newspaper in Maine, after which she designed Francis Ford Coppola's magazine City (of San Francisco).

She was the art director of the New York Times Magazine for two years and joined the staff of Traveler in February of 1988. Diana currently serves ex officio on the board of directors of the Society of Publication Designers after three years as president. In 1991 , she received the National Magazine Award for Design.

TOM McCONNAUGHY is chairman and chief creative

officer of the Chicago-based McConnaughy Stein Schmidt Brown advertising agency. Tom holds a BFA in advertising design from Ohio University and began his advertising career as a television art director at Ketchum, MacLeod & Grove in Pittsburgh. McConnaughy joined Ogilvy & Mather, Chicago, when the office opened in 1976, and was elected senior vice ·president in 1980. In 1986, he became senior vice president, executive creative director of BozelV Chicago. McConnaughy formed his own agency in 1986.

ROBIN RICKABAUGH is a principal and partner with his

wife, Heidi, in the Portland, Oregon, graphic design firm, Principia Graphica. The firm has received international recognition for its work from all of the design publications as well as the New York Art Directors Club, the AlGA and the Council for Advancement & Support of Education.

Robin studied at Portland's Museum Art School from 1963 to 1967 and worked in the New York offices of Robert Miles Runyan Associates and deMartin Marona Associates before returning to Portland. One well-remembered project of the Rickabaughs is the 1976 magazine, Oregon Rainbow, dedicated to design excellence and superior photography.

RICKABAUGH

McCONNAUGHY

A US T 0 P C H U K

CLEMENT

LAGUARDIA

C 0 M M UN I C AT I 0 N

A R T S

155

CONTRIBUTORS COLUMNS

CINDY JENNINGS is a graphic designer

in independent practice for nearly eleven years as The Design Office in Kansas City, Missouri. She recently relocated her business to the East Coast to pursue graduate studies in graphic design at North Carolina State University. In addition to design and teaching, she is a student of philosophy.

She wrote the Design Issues column, edited by DK Holland.

EDWARD B. BIGELOW is a profes-

sional 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 diverse and esoteric subjects. 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 software reviewer in our Technology Reviews column and in the Technology Resources column as a book reviewer.

SAM McMILLAN is a San Franciscobased free-lance writer. He wrote the Technology Resources column for this issue. McMillan's Retirement Planning Kit software for T. Rowe Price Mutual Funds has sold over 60,000 copies and was cited as "easiest to use" by the Wall Street Journal. When not staring into a 9-inch Mac SE screen, McMillan can be found riding his mountain bike.

SUSAN McCARTNEY has traveled the world to photograph nature and wildlife for editorial and corporate clients, and is a regular contributor to stock photo libraries. Author of Travel Photography: A Complete Guide to How to Shoot and Sell (All worth Press), she also teaches at the School of Visual Arts , conducts workshops and frequently writes about photography. The Legal Affairs column, edited by Tad Crawford, is an adaptation of a chapter from her latest book, Nature & Wildlife Photography, also published by Allworth Press.

ing with and for computers in 1977 as a graduate student at MIT. She participated in the formation of Bitstream and Lightspeed Computers, and has led teams to develop computer-based tools for the graphic arts, and interactive products for the educational and consumer markets.

She co-founded the Design Lab at Boston 's public television station WGBH, and later served as Director of Market Development for Interactive Projects. She lectures extensively, is an NEA grant recipient, serves on the national board of AlGA and is currently an independent consultant.

Ms. Richmond 's column "Design Technology" has appeared in CA since 1984, and her book, Design & Technology: Erasing the Boundaries, is published by Van Nostrand Reinhold.

BARBARA GORDON , an artist and photographer 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 (All worth 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 including the art directors clubs of New York, New Jersey and Connecticut; AlGA; ASMP; Advertising Photographers of America; Fashion Institute of Technology; School of Visual Arts; Pratt and Portfolio Center. She heads her own firm , Barbara Gordon Associates, based in New York City. She has written on free-lance issues for CA since 1982.

156

1 9 9 4

WENDY RICHMOND started design-

P H 0 T 0 G R A P H Y

A N N U A L

TODD LIEF (sprouter@aol.com) is a

communications planner and organization development consultant, specializing in improved effectiveness for firms and departments marketing products of the imagination. He is co-founder of Mindsprouts™Idea Labs, and the author of the "Working Impressions©" group values tracking study.

Recently he helped create and write the mini-book for Potlatch Remarque and Dana Arnett 's Designer Aptitude Test (featured in CA's March/ April 1994 issue) as well as the Esse and new Cottons introductions for Gilbert Paper (with Rick Valicenti). He wrote the Advertising column, edited by Tom Monahan.

BOOK

REVIEWS

BYRON FERRIS has written for CA for 28 years. As a former college design instructor and creative director at McCann-Erickson, his interests are in design, advertising, letterform and typography. Ferris helped found the American Advertising Museum in Portland Oregon, where he served as director of archival collections. His studio symbol is a pig with wings to denote "the flight of imagination with the reminder that we wallow in the mud of reality."

ANGELYNN 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 freelance designer and educator is also a jazz disc jockey on WMBR, Mas sachusetts Institute of Technology radio. She wears another hat as a book reviewer in this issue.

Shelly

always

things

did

a

bit differently.

Lived in

Wore

the hills .

sheepskin year

round .

So

when

she

heard there was a new

CD club in town , she

had to join . When the

shiny disc arrived, Shelly popped it into her stereo . Mistake . CD Stock went into

her computer disc drive . Suddenly , image after spectacular image appeared on

her screen . Over 6 , 000 . On one CD-Ram disc . Oops , CD-Rom disc . By typing in a

keyword, she could easily find any shot she wanted . Even a

ba-a-a-llerina! And with Quick-Comp™ , she could import

the image right into her layout--without any comp

fees! Yes, with CD Stock , Shelly would be top art

director . Not the black sheep of the agency .

THE STOCK MARKET PHOTO AGENCY • FOR MORE INFORMATION, OR TO ORDER CD STOCK, CALL 1-800-999-0800

In Heaven~ the Art Directors live on iced cappuccino and bon-bons tn astounding oceanfront villas. CopyU/riters have U/ide~ flat heads on U/hich to set beverages.

And everybody else has to J·urnp through hoops all day long.

HoU/

Okay, snap out of it. It's still the nineties

and you've still got too much work, too little

to arrtve

K

time.

i

Kodak knows what you're dealing

with these days. They've

0

A at the

K

been inside photography

and the graphic arts longer than anybody.

So they know what you go through to get

proof.

an idea from the shoot to the printed

page. And they know how to get you

there wi th products from films to plates, This image was assembled from ten images shot by Chris Callis on KODAK EKTACHROME 100 Professional Film and KODAK EKTACHROME 64X Professional Film. The images were scanned, composited, and output to Bx 10inch KODAK EKTACHROME 100 Professional Film on the KODAK PREMIER Image Enhancement System. Separations were made on KODAK Scanner 2000 SHN Film. Proofs were evaluated on the KODAK APPROVAL Direct Digital Color Proofing System.

digital cameras to proofing systems. Kodak

products at every point of the imaging

chain, connected by Kodak's color science.

Seamlessly. Beautifully.

i

There are those

of us who would probably change places

with Fifi the circus poodle. And, in fact,

Photo:© Chris Callis, 1994/Eiectronic photo composition by Dallas Photo Imaging © Eastman Kodak Company, 1994. Kodak, Ektachrome, Kodak Approval, and Premier are trademarks.

do much better with their 401 K.

LETTERS TO THE EDITOR

Photographers Spec Work A recent development here in Connecticut seems worth noting as a follow-up to Patrick Coyne's excellent column (working on speculation) in the January/February 1994 issue. It might go under the heading, "Just when we thought it couldn't get any worse .... " Hartford area photographers recently received the following letter (copy enclosed) from an area non-profit organization: Over the weekend of June 4, 1994, our camp, located in Windsor, will be hosting a large reunion-over 300 people. The organizers of this event are interested in having photographs taken which would then be made available for purchase. We envision having a photographer spend the day on Saturday (June 4th) taking pictures, then returning on Sunday morning (June 5th) with proofs available to be ordered.

We would be interested in selling the rights for this contract for a flat fee.

Whatever profits you might make from the sale of the photographs would be yours exclusively. We are currently accepting written proposals. If you are interested in discussing the possibilities, please contact me as soon as possible.

The following reply was sent by Peter Billard, photographer, a friend and business acquaintance of mine, after we had discussed the above letter: Best of luck with your camp reunion in June! However, your search for a photographer as mentioned in your recent press release is especially offensive. The concept that the photographer should pay the client to shoot a job is completely nauseating.

consider selling you the rights to come in and spend the day sweeping it up.

Whatever coins and detritus you might find from the cleaning of the floor would be yours exclusively. If you are interested in discussing the possibilities, please contact me as soon as possible."

Fortunately for me, I find it very easy to not participate in your ridiculous bidding offer. I sincerely hope you get the appropriate level of quality and service you deserve.

It is clear that Mr. Coyne is correct in urging all creatives (designers, photographers, etc.) to refuse speculative projects. Otherwise it is also clear that some individuals, seeing that creatives are occasionally dumb enough to work for free, will test the next logical step: Are we dumb enough to pay them for the privilege of working for free?

FISCHER S. BESSI

Columbia, Connecticut 0

New Name PHOTOGRAPHERS! Take back the title. Photography refers to a photochemical process; photons affecting light responsive films and chemical production of images from that film.

Image acquisition, handling and reproduction with electronic equipment is not really photography.

This is not a condemnation of computer-based imaging, it's just that we need a new word to describe it. I suggest the word "Biography" and its derivatives, "Biographer" and "Elograph." Its source is "electronic," or "electrons," but also plays on the phonetic kinship to "illustration."

Consider this analogy: "My studio is hosting a large gathering and as organizer of this event I am interested in having the floor cleaned. I would

"Photography" should be reserved for images that are captured and delivered by photochemical means ... by photographers. Why should photographers give up their titles and historical relationships to the visual arts?

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All images captured, manipulated or delivered by electrons are clearly a different kind of art. Captions should read, "Biograph by Joe Biographer," then everyone would clearly know that the image has been through Photoshop, Scitex, etc., and probably modified.

Other visual arts are quite good about differentiating types of work ... oil on canvas, acrylic on Masonite, lithograph, watercolor, and on and on ... and artists are also differentiated ... lithographer, etc. It seems clear that such distinctions are not too much to ask when talking about photography .. .in all of its various forms.

We should start labeling all prints, slides, reproductions as "Elographs" when they have traveled the electronic "highway," in whatever form. Business cards, letterheads, directory sections, advertising should all reflect new understanding of the means of production. Even if the majority of people in image handling jobs are doing the work with electrons and computers, it doesn't matter... clarify the source and limitations, including possible additions and subtractions of work that can be largely imaginary and based more on illustration than on photography.

If images are generated with electronic tools, they are elographs .. .if they are generated with photochemical tools ... they are photographs. Very simple.

RoN MAY Fort Wayne, Indiana

• ADDRESS CORRESPONDENCE TO:

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STEPHEN JOHNSON BY

ANNE

TELFORD

HOTOGRAPHY HAS ALWAYS USED THE highest technology of its time ," says Stephen Johnson, a pioneer in the digital photography realm. A conventionally trained photographer whose clients have included Eastman Kodak, Adobe Systems, SuperMac, Leaf Systems and the Friends of Photography, Johnson has embraced modern technology, feeling that to ignore the advances it offers would be a great loss. However, he cautions, "A new world of responsibility and opportunity awaits when you take control of tasks that used to be handled by other graphics professionals. "

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COMPUTERS Quadra 950 with 256MB RAM: 1.2GB HD , Seagate 400MB drive Quadra 950 with 256MB RAM, Daystar PowerPC Board, 500MB drive Mac 1/fx with 12MB RAM, HP 1.2GB drive, CDC MB drive PowerBook 140 with 6MB RAM, 40MB HD PowerBook 540c with 36MB RAM, 320MB HD

MONITORS SuperMac 20T, Apple 21" , SuperMac PressView 21"

Using sophisticated scanners and the newest digital cameras, he has rigorously tested and applied these tools to his unique vision of the natural world. Sarah Adams, granddaughter of his friend Ansel Adams , says, "I think my grandfather would have loved this technology, he was always excited by new creative possibilities." In fact this June, Ansel Adams's Yosemite darkroom was the site for a photography first. As a personal project, and homage to Adams, Johnson made the first digital view-camera photographs of Yosemite's valleys and peaks with the Dicomed Digital Camera and then opened his files and made the first digital prints in Adams's darkroom.

The 38-year-old photographer/designer lives in Pacifica, California, with his wife, designer Mary Ford, and their two children. The couple share a studio, located in the spacious living room of their comfortable home. Beyond the bank of high-powered Macintosh computers, canners and dye-

DRIVES Toshiba CD-ROM, Bernouli Transportable 150, Ricoh 600MB, Magneto Optical, Ricoh 1.3GB Magneto Optical, Relax SyQuest 44, Relax Archive Python DAT tape, Ricoh CD-ROM Writer

SCANNERS Agfa Horizon, Leafscanner 45, Agfa Arcus Plus, UMAX 1200, Ricoh !S60

PRINTERS SuperMac ProofPositive dye-sublimation, Ricoh PS6000 laser

MISCELLANEOUS Dicomed Digital Camera Wacom Graphics Tablet Supra Fax Modem v14!32

Agfa Forte film recorder LeafLink fiber-optic network

SOFTWARE Apple System 7.1.1 Adobe Photoshop 2.5.1 Adobe Illustrator 5 .0.1 Aldus FreeHand 3.0 Aldus PageMaker 5.0

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QuarkXPress 3.2 Microsoft Word 5.1 Caere Omni-Page OCR Adobe Type Library *All RAM supplied by Newer Technology

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All photographs ©1994 Stephen Johnson Right: "Cattle Grazing , Merced County," 1988; 4 x 5 Kodak Vericolor negative. "I stopped the car along Highway 140 on the way back from Yosemite. The clouds, cattle and hills caught my eye and I set up and made a few exposures . After about 20 minutes I had done what I could with the scene and started to put the camera away. Then the light broke out like a spotlight in the middle of my frame. I grabbed a film holder and made an exposure . As happens far too often, by the time I turned the film holder over for another shot, the light was gone . If the camera had not already been set up, the photograph could never have been made. It seemed to belong on the cover of the The Gre_at Central Valley."

"Burned Trees and Flowers, Foresta," 1994, from "The First Digital ViewCamera Photographs of Yosemite;" 4 x 5 Dicomed Digital Camera; 6,000 x 7,500 pixels. "''ve watched the Foresta burn gradually come back to life during the last few years . The display of lupines among the black trees was an irresistible draw. Ultimately, the far more subtle play of grasses, flowers, brush and trees proved more interesting. Normally the images I discover while wandering are better than those I stop for. The contrast was quite high and I was interested in the challenge of holding detail in the burned black of the trees while still holding texture in the clouds and granite. The long tonal range of the camera held the detail quite well."

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sublimation printers, is an expanse of inspiring scenery, all the way to the not-too-distant Pacific Ocean.

His work has appeared in a number of publications including Audubon, American Photographer, the New York Times, Sierra, Omni and California magazines. His first book, At Mono Lake, assembled the work of 50 photographers and 100 years of photography to draw attention to California's endangered desert sea. Johnson's most ambitious project to date is one close to his heart. The Great Central Valley: California's Heartland book written by Gerald Haslam, showcases his and colleague Robert Dawson 's photographs, as well as many vintage 19th and early 20th century photos that Johnson scanned and digitally restored. The book project began in 1987 at the dawn of the desktop digital era.

Johnson edited and designed the book, and ended up scanning many of the images used. "It turns out I did half the scans in the book, although I never intended to," he explains. "It just worked out that way because I kept making decisions to include something. I had the original or copy here, I had the scanners here and it made as much sense to scan and prepare the artwork for reproduction as to just do mock ups."

The book, four years in the making, recently won the 1993 Bay Area Book Reviewers Association award for non-

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This page : "Elvira Broughton," 1937, photographer unknown; Agfa Horizon scanner. From left to right are shown the Red channel , Blue channel, Red and Blue channels blended, and a mask Johnson created. "I wanted to minimize the red/magenta marks on the face and the background abrasions . By doing a color scan of the print, I could separate different aspects of the damage onto different color channels. I blended the Red and Blue channels togethet into a blackand-white file devoid of the red markings, then using a mask, I brought only the blue channel into the background . I picked a color from the original color scan and recreated a color palette similar to the original scanned image tone ."

Right: "Yosemite Falls, Infrared," 1994, from "The First Digital ViewCamera Photographs of Yosemite;" 4 x 5 Dicomed Digital Camera; 6,000 x 7,500 pixels. Location : 37° 44' 39.66" N by 119° 35 ' 23.70" W 3967 feet. "The Ansel Adams Gallery and I held a press conference in Yosemite on June 17 to show the first digital view camera images of Yosemite and demonstrate the technology. We walked over to the meadow across from Yosemite Village for the requisite shot of the falls . I didn't expect much from this photographic cliche, but I went ahead and put together a composition . The color shot was fine , but we were all intrigued by what an infrared might look like. I proceeded to make the photograph, and just as the scanning element reached the falls, the wind kicked up from the east and blew the water diagonally to the west during the entire time the camera was imaging that area of the frame . Ansel Adams 's son Michael Adams turned to me and said 'Ansel would have loved this' and we all looked around to see if there were any forces arranging the wind, water and light."

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fiction and a 1993 Commonwealth Club Silver Medal Award. It has garnered an impressive number of glowing reviews as well as a feature essay on PBS's " MacNeil/ Lehrer Newshour," narrated by noted California writer Richard Rodriguez. The project reacquainted Johnson with where he grew up, and reinforced the fundamental goals of his work: "To visually explore the emotional bond I feel with the natural world , and to create compelling art that suggests that kinship. And I want to expand the role artists play in helping to shape our political and social environment."

In fact he is such a believer in the potential of the new technology, he owns two smaller scanners he regularly lends to photographer friends who are interested in experimenting with scanning their images.

One area in which Stephen has made great strides is restoration. He believes the artifacts of age are part of any photograph and is very careful about what he restores and what he leaves intact. While he feels comfortable color correcting and spotting in Adobe Photoshop, he would not remove a large dust spot if it involved recreating a physical feature, e.g. , a person's hairline or foot. His fundamental guideline: No real objects should be added or removed from a photograph. The digital compositing work is a completely different area.

"I'm trying to be as true to my original vision as possible and merely clean up the artifacts , which I've always done-dust on the film , scratches and problems of that nature. People ask me about moving trees or adding moons.

I'm not interested in doing that with my landscape work.

I would call that manipulation. Removing the dust, getting the color as accurate as possible, or changing the contrast to suit my taste-I believe that 's more in the realm of interpretation rather than manipulation," he says. "My fundamental goal is to reproduce the negative as accurately and as beautifully as possible. " Johnson removes dust from the negative or print, then he scans the photograph into his Quadra 950 using a Leafscan 45™ for film or his Agfa Horizon™ for prints. As much as possible, tonal corrections are done in a pre-scan mode, customizing the scan to the needs of the negative and creating a scan that needs little editing. In Photoshop he sharpens the scan to bring it back to the sharpness of the original film , straightens the scan if the image was not placed squarely in the scanner and cleans up dust spots.

While Stephen admits that photographic beauty is subjective, he says , " ... I do believe that a black and white photograph can glow when it contains a rich black in the deepest undetailed shadows , and a pure white in the highlights." And his aim is to arrive at a final print with just that tonal range, if possible. "In color," he says , "I see a world of light-filled pastels, and I strive to record those impressions."

He is presently archiving a 600 image glass plate collec170

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tion of early 20th century Central Valley photographer Frank Day Robinson using the Agfa Horizon scanner; one element he must deal with is damage to the vintage glass plates from mold, stains and abrasions.

"Ultimately a lot of these images have a life and beauty if left alone and unrestored. At this point, I've done nothing with most of these files except scan the plates and make the digital prints," Johnson says, pulling prints out of a flat file. "Here's an example where the emulsion is lifting right off the glass. I would not do anything to change this.

Painting out the missing emulsion might not give some people any problems, but I think there's some beauty to the way time has worn the image. You start to destroy the historical value of the image by faking areas back in.

And that is tragic."

Stephen's enthusiasm is contagious. He works with great concentration, but laughs easily, making minute adjustments to a black-and-white photograph's duotone curves while explaining the process in a straightforward, educational manner. He 's had plenty of practice educating others through the digital photography workshops he teaches all over the country and from seventeen years of teaching traditional photography. He wrote the duotone curves that ship with Photoshop. In addition, he has written an important primer on the digital process: a 48-page booklet entitled Making a Digital Book: Art, Computers, Design, & the Production of The Great Central Valley: California's Heartland. The booklet explains the creation of the book and describes Scanning & Image Editing , Duotones & Photographic Reproduction , Equipment & Software, among other useful topics.

"As a photographer I never planned on being a color separator, or a scanner operator, but that's part of what 's happening," he asserts. "We're moving into a time period where the individual artist has the opportunity to really take control of their work, but at the same time, there 's this vast body of responsibility that we 're going to have to take on as well. It really is a double-edged sword. " As a result of these technological advances , Stephen 's pastel color work has become more reproducible . "It 's alway a battle in the color separation process because people are used to gutsy, rich , saturated color. " The issue of photographic veracity has always been a hot topic, but with digital imaging, the debate has taken on a Right: "Trees, Montara," 1994; 4 x 5 Dicomed Dig ital Camera . Location: 37° 49' 40.3" N by 122° 29' 53.7 " W. "Michael Collette brought hi s digital camera over to show me in September 1993 . By Janua ry he was making full 130 MB files and I was very intrigued . We sta rted going out and photographing together. In March I made th is photograph, the first with the digital camera that I really felt rose to the qua lity of the best of my work."

"Eroded Hills, Central Oregon, " 1987; 4 x 5 Kodak Vericolor negative .

"A very hot day in Central Oregon led to the soft photograph of these patterned hills."

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new dimension. "We should have been more suspicious of photographic truth all along," Johnson says. "The whole notion of a photograph being a literal rendition of reality is very highly suspect for a lot of reasons. We choose what we look at very carefully. Isolating one view from another view can be interpretive to the point that it makes something unique and beautiful. At worst though, our cameras can be so selective in their view that they severely distort the continuum of the event actually taking place.

"The whole notion of image manipulation has been with us since the 1850s. We need to remember that. It has risen to high art with people like Jerry Uelsmann who does wonderful photographic montages that become art forms and performance pieces in and of themselves. The craft of manipulation reaches sinister heights with the probable faking of photographs of Oswald or simiiar intrigues, where the rich and powerful have the ability to do just about anything they want in terms of manipulation of an image to make us believe their story."

What about the paper cup that mars the otherwise pristine landscape featured on the cover of The Great Central Valley?

"We're in a time period where there's a lot of loose ethics with regards to how images are treated," Stephen says. "I don't really feel any differently about digital imaging than I do about my traditional photography. I would not spot that cup out with a spotting brush on a silver print and I'm not going to spot it out on a digital print.

"When you look at the photograph there is very little that's natural or pristine. The grasses are non-native grasses. The cows are not native to California, neither are those eucalyptus trees in the back. The Coke cup was thrown into the landscape. We have the sky and the line of the hills.

That's about it for natural. So, I think the cup actually kind of belongs."

Johnson repeats the lament of all photographers, that dust is the enemy of photography. What does he consider the enemy of digital imaging? "Maybe the temptation to lie," he says thoughtfully, then adds, "you're still fighting dust, because dust and photography are at odds throughout the process. And of course you add dust in the scanning process too. But the integrity of the scene as I saw it is something I try very hard to preserve."

He now has a whole new set of controls over his images.

"For example, in the darkroom you generally make 172

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global contrast changes by choosing the contrast of the paper and then you often fight that back by using a paper developer that is going to bring up the highlights. So you have a little bit of intermediate tonal control. But when an image is digital, I have the ability to treat the contrast in completely different areas of the tonal range independently and contradictory to each other if needed.

"Part of what is going on there is that you are battling film's inability to see light the way the human eye sees it.

As long as film brings limitations, it makes sense to choose the palette of distortion that you want and choose a film type to your liking. But we shouldn't kid ourselves. Color film has a very limited gamut or range of vision; a narrow view of what our eyes see. One of the real promises of electronic darkroom software like Photoshop is the ability to correct some of the distortions of convention~ film.

"But I'm most excited about shooting digital originals and being able to bypass some of film's prejudices and inabilities, working toward a whole different way of looking at color and light. And it's very much in keeping with my palette anyway because a digital photograph doesn't necessarily saturate color. " One of the things I'm able to do now with the Dicomed Pigital Camera, my view camera and my Apple PowerBook is to see photographs in the field as I am making them. I can actually open the image and look at it on screen while I'm still standing there and see if I've got what I want. What that means is this whole notion of what Ansel [Adams] developed with his Zone System is carried over in this elegant way because I can now choose the contrast I want to impose before I even make the photograph and see the results on the spot. We have this whole additional set of possibilities with regard to tonal range, color balance and contrast that open up new ways of seeing the world."

Along with this new vision, comes responsibility for reinterpreting and changing the nature of the way we see the world. Stephen Johnson 's hope is that digital photography will enable us to see the world more personally than ever before, and perhaps more sharply as well.

"Skull and Quilt," 1993; Leaf Digital Studio Camera; 2,048 x 2,048 pixels.

"My wife's great grandmother's 1886 quilt seemed a perfect setting for this skull. We were experimenting with the Leaf Camera, and it seemed natural to look for very old subjects to photograph with this very new technology."

To explain the differences you see between these two images, we've included a comparison of 50% cyan dots to the right. With conventional offietlithography, ink sits on top of a raised plateau on the printing plate. To transfer ink from this raised intage area to the press sheet, conventional printing uses fountain solution (a complex mixture of chemicals). This produces dots that are larger and less round. This is known as dot gain. (See the conventionally printed dots in the left eyepiece.) With Waterless printing, ink sits in a recessed image area on the printing plate. To transfer ink from this

"Waterless:' Waterless produces dots that are a more accurate reproduction of the film which generated them. With Waterless there is less dot gain. (See the dots printed Waterless in the right eyepiece.) What's more, the Waterless plate can transfer even more ink. But remember, while most Waterless printers are offering 300 lines as their standard Waterless screen ruling, even with traditional screen rulings of 200, 175, and ISO lines, your dots look better-therefore your images look better.

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Seeing is believing. In this comparison printed on Mead Offset Enamel; it's clear to see that Waterless printing delivers superior reproduction: More tonal contrast More saturation in every area. Finer details throughout. How is this possible? By eliminating fountain solution and using the special Toray Waterless Plate7ink is easier to control. This allows your printer to print sharper, more saturated process dots----especially on Mead coated papers. It also allows your printer to use higher screen rulings. And, hard as it may be to imagine, Waterless printing is an easier process to operate. So easy, in fact, some Waterless printers are offering 300 lines per inch as their standard screen ruling. But even when traditional screen rulings of 150, 175, or 200 lines are used, Waterless delivers richer, more saturated color. If superior reproduction doesn't convince you to print everything Waterless, maybe this will: Waterless is .the most environmentally friendly printing process available. • It's clear what Waterless printing means to you: more intense colors, enhanced detail, and it's much better for the environment. So don't be shortsighted with your visions-specify Waterless printing on Mead Offset Enamel and not only will your work look better, but so will you.

IMPROVE YoUR VIsioNs AT THESE WATERLESS PRINrERs. ARIZONA Phoenix AZ Litho & Dryography*

CALIFORNIA Brea Southern Cal Litho Cerritos Color Plus Graphics

St. Petersburg Fidelity Printing

Easton Waverly Press*

Winter Park Pioneer Graphics*

Hagerstown Phoenix Color

IDAHO

MASSACHUSETTS

Boise LithoCraft

Everett Daniels Litho

ILLINOIS

Hingham New England Book

Escondido A & L Litho, Inc.

Bensenville Multiple Images*

Fremont Thompson Lithograph

Bridgeview General Converting

Fresno Pacific Printing

Chicago Columbia Graphics Corp.

Gardena B & G House of Printing

Cicero Printing Arts/Litho Tech, Inc.

Hayward American Lithographers Irvine Gunther Graphics Los Angeles Anderson Lithographers Monterey Color AD Printer* San Diego Neyenesch Printers, Inc. Santa Clara D & D Associates Santa Cruz Bayshore Press

COLORADO Boulder Gritz Ritter Visual Graphics Denver Lange Graphics

National Printing &Packaging

CONNECTICUT Hamden Technographic Arts Stratford REMLITHO Inc.

GEORGIA Stone Mountain Harris Specialty Litho

FLORIDA Miami TriTec Orlando Moran Printing Pinellas Park Promocom

Des Plaines LeFebvre Intergraphics* Elk Grove Village Consolidated Press, Inc.

Waltham Universal Press Weymouth Pyramid Printing Wilmington Waters Printing

MICHIGAN Detroit Northwestern Printing* Redford Spectrum Lithograph

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Memphis Bemis Company, Inc.

Long Island City Quality House of Graphics*

Nashville Bueford Lewis Printing

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Rochester Hammer Litho* Ronkonkoma Cedar Graphics East* Troy Regal Art Press of Troy

NORTH CAROLINA Asheville Blue Ridge Printing Charlotte Classic Graphics

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TEXAS Arlington Authentic Press Dallas Bakers Press

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Crawfordsville R.R. Donnelley & Sons*

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Elkhart Lithotone, Inc.

Minneapolis Hoppe Printing

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Shapco Printing, Inc.

Stanley Queens Group

Fairmont Creative Label

Oakdale UVColor

OHIO

WISCONSIN

Cincinnati RPI Color Service

Brookfield Burton & Mayer

MISSOURI

Columbus Vectra

Milwaukee Kastner Graphics, Inc.

Kansas City Trabon Paris

Warren Superior Printing

Wetzel Brothers, Inc.

St. Louis Color Associates

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New Berlin Crossmark Graphics

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South Bend

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KANSAS Lawrence Allen Press, Inc. Parsons Sun Graphics

KENTUCKY Louisville Gateway Press, Inc.

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Landing Computer Color Inc.

Baltimore Graphic Technology, Inc.

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Pennsauken Triune

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Port Townsend Hickory Printery Communications* The Hickory Printing Group Redmond Research Triangle Park Alpha One PBM Graphics, Inc. WEST VIRGINIA

Newport Steinhauser, Inc.*

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Richmond Expert Brown*

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Jessup Mississauga Keystone Printed Specialties* Queenstone Services, Inc. Montgomeryville Ottawa DataCard Corporation Canadian Bank Note Pittsburgh New Image Press

Waterless Printers as of3/1194. *Members of the Waterless Printing Association

PRODUCTION NOTES: This insert was separated and printed at AZ Litho & Dryography, Phoenix, AZ, with the Waterless Printing System on a 26" Komori Lithrone pres . Design and photography by Pivot Design & Marketing, Charlotte, NC. The modem frames were supplied by David Brown of EYE 1, Yellow Springs, OH. Adclitional frames and lenses were provided by Southpark Optical, Charlotte, NC, and Delilah Avery ofLensCrafters, Charlotte, NC. Antique optometry equipment provided by John Washam, Jr., HuntersviUe, NC. The front printed four-color process Waterless and four-color process conventional. The back was printed in a Waterless black and a Waterless match blue. The photos were scanned for maximum sharpness and color saturation. The conventional image was printed at 200 lines per inch-a high-end standard for conventional four-color process printing. The Waterless image was printed at 300 lines per inch-300 lines per inch has become the unwritten standard for Waterle process color. The black trial glasses that contain the enlarged cyan dots also printed 300-line Waterless. A spot varnish was printed on aU of the four-color process and the headline. The red and yellow boxes that knock out of the four-color images are Waterless screen builds--notice the intensity and smoothness of these two colors. All of the type on the front and back printed Waterless. You'll want to pull out your Ioupe to read the tiny, 1 pt. type that appears at the very bottom on the front side. This demonstration of the superior reproduction qualities of Waterless printing was printed on Mead Offset Enamel60 lb. cover. MOE is a umber Two sheet with high-brightness and the appearance of a Number One heet. MOE is also acid free. Its runnability, printability, and consistency have made MOE the perfect house sheet for printers aU over the country. MOE is available in 60 lb., 70 lb., 80 lb., and 100 lb. text and 60 lb., 80 lb., and 100 lb. cover. Contact your merchant for swatch books and samples. To receive a promotion with demonstrations of Waterless versus conventional printing on aU of Mead's coated papers, caU 1-800-638-3313 and ask for "Comparisons:' To ray Waterless Plates and Mead are proud sponsors of the Waterless Printing Association, an organization declicated to educating graphic de igners and printers about the benefits and applications of Waterless printing. If you would like WPA membership information, contact the WPA at 312-743-5677..

World Headquarters Couthouse Plaza Northeast Dayton, Ohio 45463

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Water1ess

Printng Process"'

Design Technology

WENDY RICHMOND

MURIEL COOPER URIEL COOPER DIED ON MAY 26, 1994.

Her work as a designer, educator and researcher spans almost 50 years. She received innumerable international awards acknowledging her accomplishments as design and media director of MIT Press, and as co-founder and director of the Visible Language Workshop, part of MIT's Media Lab. Muriel Cooper's work provides the foundation that will redefine graphic design. Her legacy will have a profound effect on you, both as a designer and as a consumer of visual communication.

M

But when I learned of Muriel's death, I didn't think about all of that. I just thought about me.

Muriel was my mentor. She had more influence on my career, its beginning and its entire course, than any other person or set of events in my life. I think now of the number of people who are echoing these same thoughts about Muriel-hundreds !-and I am even more overwhelmed.

Remember this feeling: You are young and you are on the edge of discovering who you are and what you want to be. You ' re close to it, but you can't articulate it. Then one day you go to a lecture, or a class, and you hear a teacher 's words and you say, "Yes! She's talking to me!"

Who has been a mentor to you? Have you been a mentor to someone else? Since Muriel's death, I've thought a lot about this: What makes a mentor?

How do you create an atmosphere that is exciting and passionate? How do you get people to share and collaborate? How do you let the ideas come from them and still guide them? How do you set them on a path without dictating? How do you provide what they need-the equipment, the materials-when you have a shortage of funds?

in someone else's work. I remember a little piece of code I wrote and lost, and someone else found it and used it.

That was wonderful!"

In my first course with Muriel, "Messages and Means," we were taught to run an offset press. We divided into groups of four, and we each created a quadrant of a plate, which we then rotated to create overlapping effects. All successful prints were due to our combined imagery. Not long after that, Muriel encouraged me, and many others, to collaborate with programmers. Student projects took on a permanence, and were used in subsequent work in the Media Lab for years.

Muriel was constantly lending students her personal equipment, including expensive cameras, video decks, tape recorders, Polaroid cameras. She was a shopping maniac, and had drawers full of complicated gadgets. She shared them all, especially if you could help her figure out how they worked.

How do you engage a student's intellect?

One friend told me about a lecture he had attended in 1979, "Pluralism in Graphic Design in the '70s." He watched the first three speakers simply show their portfolios, still waiting for someone to address the topic. Then Muriel got up. She showed the clean, beautiful, modern posters of MIT's Design Services. Then she showed slides of these posters in the halls of MIT, obscured by Xeroxed flyers and announcements created by the MIT community at large. Her point was that all people, not just designers, had access to tools with which they could create printed communication; they used copy machines, Letraset, IBM composers, etc. My friend visited Muriel at the VLW the day after this lecture, and he stayed for years.

How do you get people to share with each other, to collaborate, to make things together?

Muriel encouraged me to see the bulletin board as a place where the design is no longer controlled by the original designer. It takes on a life of its own. As a result of her direction, I designed a poster that left the entire middle of the sheet blank. I printed a bunch, and pinned them up all over MIT. Every day I watched the ways in which the community used or ignored the white space. With her guidance, this led to my interest in interactive media.

We live in a litigious society, and graphic designers are increasingly paranoid about infringed copyrights and stolen images. The e thoughts were foreign to the VLW. One friend who was at the VLW for many years told me this , "We shared everything: pictures, software codes, equipment. We were flattered when our images appeared

A current VLW student told me that he changed his entire thesis plan based on one sentence from Muriel. His thesis concentrated on applying computer-assisted intelligence to the layout of the printed page. Muriel told him to look at the dynamic aspect of the computer medium: How do you develop a program to design information that is con-

I look back seventeen years to find the answers , when I worked for Muriel at MIT Press, and then followed her to the Visible Language Workshop (VLW) at MIT, as her student and as her teaching assistant.

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stantly cHanging? (This is one of the most important questions that designers of the information highway will have to address.)

How do you provide what students need-the equipme11t, the materials-when you have a shortage offunds?

I had no idea back then that it was not possible to simply dip into the institutional piggy bank and take what you wanted. I look back now in awe at the equipment, talent and materials Muriel was able to collect, u ually by loan, for barter or because som~one simply wanted to contribute.

When I worked for Muriel at MIT Press, I started at four days a week. I loved it. After a while I said, "Muriel, I want to work five days a week." She said, "Great! Do it!

But you know, I can't pay you for any more than four days." Well I had my pride, so I told her I would stick to my four days. But I snuck in every Saturday and worked all day.

The VLW had a continuous migration path to increasingly more powerful workstations. New ideas that incorporated 3-D and (gorgeous) high resolution required sophisticated technology in order to be realized. Muriel made sure that the technology was available to her students.

Period.

How do you make students pursue areas that are undefined?

I was attracted to Muriel's messiness. To me this meant that she gathered ideas and materials and people and put it all in front of us and we made our own order. We were encouraged to create unusual schedules, to define and nam~ and even help to write the curriculum for courses before we enrolled in them.

I was inspired by her clothes. They were unstructured, too; layered, loose and comfortable with lots of pockets, places to hold scraps of ideas.

How do you get people to look outward, and learn from the rich environment surrounding them?

Muriel created links to all of MIT, as well as to the outside world. This was the roster of departments represented in one of my classes: Architecture, Urban Planning, Artificial Intelligence, Film & Video, CAVS (Center for Advanced Visual Studies), Engineering, CIPG (Cognitive Information Processing Group) and the Architecture Machine Group. These were not people who simply met once a week and separated, these were people who worked and made things together.

I remember one semester in which the students created a journal, developed a poster series for a show of student work, created the pieces, set up the exhibit, documented the show with every form of media available to us and 176

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then figured out how to publicize it on MIT's cable TV, using fonts that we had developed.

Muriel enabled this and more: She convinced many people who subscribe to science, engineering and quantifiable things that design is of equal importance. Further, she convinced them that graphic design will be the vehicle by which their ideas will be understood and implemented.

And imagine what she represented to the small batch of women at MIT, who watched her stand her ground in a predominantly male establishment. She did all of this so that her students could participate in-so that they could define-the future of visual communication.

I believe it will require the creative juices of all of us to develop, in Muriel's words, "The new form and content design of emerging technologies." I'm deeply saddened by the thought that she won't be here to inspire and guide this immense task.

What do we consider to be our greatest accomplishments?

Winning awards? Authoring books? Designing groundbreaking products? Think of this: Muriel Cooper created an environment where literally hundreds of people discovered and pursued and realized their passions. In the coming months, you will read more articles about Muriel; you' 11 see pictures of the work and descriptions of intellectual pursuits. Behind each picture and paragraph is a woman who championed the work of her students.

Muriel presented the work of the VLW at the TEDS conference earlier this year, where it was greeted with , as one friend said, "a communal gasp and a standing 0."

The demonstration shows the translation of complex electronic information into a compelling and comprehensible landscape. But the most vivid image in my mind is not of any screen; instead it's of Muriel, describing the work of her students with awe and admiration.

Look at your own resume, and think about what is behind your best accomplishments. Do you see someone there, someone who encouraged you to push harder, to explore and discover? And do you see the role you have played, in which you inspired someone to explore an uncharted course?

As I look at my resume, I ask myself this question: What could be more important to add to it than "Mentor"?

EDITOR's NOTE: Please see the May/June article on the TEDS conference which features the work of the Visible Language Workshop.

© 1994 W. Richmond

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Technology Reviews

EDWARD B. BIGELOW

''SCANOGRAPHY'' TODAY

S

CANNERS ARE AMONG THE MOST PROvocative creative tools now available. We depend on them and, as with copiers not many years ago, we can say, "What did we do before they existed?"

They can scan nearly any document for editing, including musical scores which can be electronically performed, prints and transparencies, fabrics, fruit, vegetables and anything your imagination and proclivity is capable of fitting on the scanner glass. They are the quintessential collage maker's tool, the photographer's lab tech and the graphic artist's composition tool of choice.

They are more than just analog to digital image converters or "digital film." They can be both film and camera, take any object, even nominally three dimensional, and make a two-dimensional pixellated image file of it. Together with editing software, scanners are a virtual darkroom. Many photographers are using scanned photographs for proofing, marketing and the production of final art.

Scanners take images from different mediums, and create a new form of image: a photograph is no longer a photograph. It has unique characteristics, limitations and potentials opening up new vistas to the creative electronic graphic worker (scanographer?).

Scanner hardware is difficult to recommend.

The technology is well developed, and I've hardly met a scanner I haven't liked. There are so many variables in evaluating scanners that, similar to loudspeakers, once back in the workspace, you can't tell the difference.

Though one scanner may be slower, it may have better scale or more refined calibration.

Scanners are inexpensive high quality, precision tools, roughly comparable to the cost of a good camera lens. They can be grouped by their capabilities which more or less track the price. You do get what you pay for. The price points for reflective art scanners are roughly at $600, $1,000, $3,000, and $10,000, about half the price of transparency scanners.

There are two maxims I have developed while working with scanners: 1) Having a scanner is better than not. 2) More is more, which is not the same as better. Another way of saying that you will probably never use the highest resolution settings.

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Let's look closer.

Measuring image quality is not simple. Here are a few standard yet imperfectly understood, misused definitions: DPI - Dots per inch - Printer resolution PPI- Pixels per inch- Video monitor resolution SPI - Samples per inch - Scanner resolution LPI - Lines per inch - Halftone resolution One convention to quantify lens resolution is to measure the resolved lines per millimeter, for consistency converted below to LPI. And here are some relevant scanner parameters: • Scan Materials: Most flatbed scanners are designed for reflected light opaque materials.

Some accommodate transparency adaptors which can scan at 1:1 scale at less than YJ the optical resolution of slide scanners, limiting potential enlargement. Film scanners for negatives and transparencies have higher resolution and generally wider dynamic range.

• Maximum scan size: Usually up to legal, 8 W' x 14" (some to 11" x 17'') for flatbed, reflective art. Film scanners are available up to 4" x 5".

• Color and depth: There are color and grayscale scanners and the number of bits per sample determines the number of tones per color which can be sampled. An 8-bit image yields 256 tones. Most current color scanners provide 8-bit Red, Green and Blue (RGB) color images for a 24-bit sample, with 256 3 or 16 million possible colors. A few go to 36bit, but not all software yet works with these.

The number of colors determines color accuracy and smoothness of blended or gradient colors (such as a dark blue open sky fading to a pale blue-green on the horizon). It also determines the size of the resulting files.

• Scan method: One pass or multi-pass, both methods have advocates who argue the issues of reliability, color purity, quality and speed. Fortunately, terrific scanners are made using both approaches. Image quality ultimately rests on the skill of the "scanographer."

This Russian smoked mackerel went straight from the dinner table to the scanner where it became a "scanograph" before being consumed. © 1994 Edward B. Bigelow.

1\esize photo ..

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Technology REVIEWS

• Optical Resolution: This is the "real" resolution of a scanner-the number of horizontal and vertical samples per inch (SPI) the scanner can capture. Typical scanners have optical resolution of from 400-600 SPI such as the Hewlett Packard and Umax. The resolution for film scanners starts at about 2,000 SPI and goes to 5,000 SPI for the Leaf®35mm scanner. The less expensive units generally have less dynamic range, resolution and speed, and require a little more work per scan.

• Interpolated Resolution: All manufacturers advertise higher resolutions than the optical resolution. They are referring to software "enhanced" resolution, which is basically an "anti-aliasing" function. Pixel density is increased, minimizing the "jaggies" and increasing apparent resolution. Anti-aliasing functions are often part of software resampling or resizing functions, and not all interpolations are equal-some work better than others.

• Dynamic Range: Some manufacturers advertise dynamic range; the scale of dark to light tones which can be sampled, yet this begs a larger discussion.

Dynamic Range and Sharpness Most scanners use sensors called Charge Coupled Devices (CCDs). An understanding of how CCDs relate to dynamic range and sharpness will help to achieve quality scans.

I think of dynamic range as one of the "dark arts" of the scanner business; it refers to the sensitometry or range of light to dark tones which can be captured by the scanner receptors. While dynamic range is stated by most scanner manufacturers, testing methods vary widely and numbers do not share a standardized meaning.

The quality of sensitometry analysis available for photography has yet to appear in the digital arena. Ansel Adams often displayed opacity (for a negative) in arithmetical units together with density curves. A "normal" print on grade 2 paper might look like this: Dark 1 - 2 - 4 - 8 - 16 - 32 - 64 - 128 - 256 Light The ratio of light to dark is 256. Each step 2x or Y2 the previous. This is a logarithmic relationship, and the midpoint is at step 16 (zone 5, or 18 % reflectance for photographers).

However a scanner using CCD cells would pick up light something like this: Dark 1 - 32 - 64- 96 - 128 - 160- 192 - 224 - 256 Light CCD cells have linear response: each step varies from the next by an equal amount. The mid-point is at 128. CCD cells inherently separate highlights better than shadow detail. Hardware and software convert the output into a log function, and dynamic range and linearity vary considerably from one scanner and software application to another. Most software allows the user to alter the scanner 182

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calibration curves to obtain the best settings for their work.

Drum and slide scanners usually use logarithm function photo-multiplier or photo transistors as receptors, and scan with more accuracy and a wider dynamic range.

Another under-reported "attribute" of CCD cells is called "blooming." This can be likened to photographic lens flare, and blooming is usually responsible for the slight softness most scans exhibit. Some digital cameras mask the CCD receptors to effectively "stop down" the CCD cell, and the image quality increases together with the exposure requirements.

For me sharpening is the simplest way to minimize blooming , and virtually every image scanned can use some sharpening. Most software packages have some form of sharpening filters, yet while using similar name these filters can create different effects. Experimentation is necessary to find the filters and settings that suit your needs. Both Micrografx Picture Publisher and Adobe Photoshop provide excellent control.

Some photographers are concerned that software sharpening introduces artifacts into an image; true, if too much is used. They prefer scanning at higher resolutions in an attempt to minimize blooming, creating humongous files.

How large a file is necessary?

To determine the maximum file size needed , use the 2 formula: Area x (LPI x Overscan factor) Area = the photograph area, LPI = the halftone line frequency, and Overscan factor= halftone frequency multiplier While some authorities recommend scanning at a sample rate of just over the output resolution, almost none think that scanning at over twice the frequency will improve the output image quality. I use an overscan factor of 2.0 to assume the highest quality output.

Some photographers scan and manipulate their work and want a continuous-tone film output with the quality as close as possible to the original.

Let's look at some specifics. A good 35mm camera lens can resolve over 2,000 LPI, resolvable by most film , given good processing practices. An outstanding 4" x 5" film transparency output from this could resolve no more than 500 LPI, a print less.

Saving a scanned 35mm transparency as a TIFF file for later output as a 4" x 5" transparency, and using the above formula would create a 20 MB file (grayscale or 8-bit color) , or a 60MB 24-bit file .

Lenses for formats larger than 35mm are generally not as sharp, yet the larger image requires less enlargement so image sharpness is correspondingly higher. A 4" x 5"

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Creating with an XGT is natural, smooth and intuitive. othing gets between you and your ideas. You can scale the screen or the tablet area on the fly, and decide the exact scale at which you want to draw, from thumbnails on up, all without ever leaving the application or your focus of attention.

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Kurta's XGT digitizer family supports all major graphics applications. We offer a 12"x 12" and 12"x 18" tablet, and are now introducing the new small footprint XGT 6"x 8". About the size of a standard pad of paper, the XGT 6"x 8" lies flat on your desk and

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Technology

REVIEWS

transparency should resolve over 1,000 LPI and the above file sizes could be four times larger. Though film recorders typically resolve 4,000 DPI, for all practical purposes a 4 x 5 output transparency will show little improvement if the input 24-bit file is above 80MB, or 4MB per square inch. Effectively a 1,155 SPI scan.

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Of course large files place extraordinary demands on a computer. Photoshop is most efficient with three times as much RAM as the working file size. Therefore many graphic artists now work with 128 MB of RAM. When an image is to be printed using halftones, file size requirements shrink dramatically. For example a 4 x 5 reproduced image screened at 17 5 LPI, using the above formula, would require a TIFF file of less than 2.5 MB (grayscale or 8-bit color) or about a 7.5 MB 24-bit color file. Almost any computer can process files of this size, and digital separation and halftoning is becoming more accessible as color calibration and management software becomes more reliable, common, understood and utilized.

II

II

Software A good rule is that anything software does can influence the quality of scanning.

Each scanner uses software "drivers" provided by the manufacturer which "connect" the scanner to the computer.

No scanner comes out of the box producing perfect scans, and skill with software is necessary to get consistently good scans. Programs such as OFOTO and the HP DeskScan program are designed to be fairly automatic, taking most of the guesswork out of scanner calibration.

Three programs gave me the best "1st scan": OFOTO, CorelPHOTO-PAINT! 5.0 and PageMaker 5.0. The best filter and calibration controls I've discovered so far are in Micrografx Picture Publisher, Adobe Photoshop and CorelPHOTO-PAINT! 5.0.

While I now use a Hewlett Packard Hex scanner, the HP DeskScan software and the TWAIN driver gave me colors that are too "hot" for my taste, similar to some Fuji transparencies. Setting up my application to use a driver for an earlier version of the HP scanner (the HPIIc) gives me more realistic colors with a "softer" scale.

Only three programs I've recently used support proprietary (non-TWAIN) drivers and so offer more scan possibilities: Micrografx Picture Publisher, Halo Imager and OFOTO. I cannot say this often enough: Experimentation quickly pays dividends in improved image scanning.

Conversions It is important to know file conversion possibilities and limitations when scanning and manipulating images.

There are good reasons to work in the 24-bit mode. Some 184

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image editing programs only allow full editing in this mode and others automatically convert to 24-bit when loading an image; 24-bit color also provides high color accuracy while limiting scanning artifacts.

There are also reasons to work in the 8-bit mode. A few applications, such as CorelPHOTO-PAINT! offer full editing control in the 8-bit mode. An 8-bit image file will process and print much more rapidly than a 24-bit file and take Y3 the disk space. In that a final printed image rarely contains over 100 tones, the 8-bit, 256 tone image can often prove more than adequate.

Converting from 24- to 8-bit mode requires a program to take up to 16 million possible color and by merging and substitution, reduce these to just 256. Some applications allow a user to select the type of conversion, using formulas known by such exotic names as adaptive, modified or classical popularity, median cut, biased median cut, indexed, optimized, ystem or uniform quantization. Some software provides a single default conversion.

Each 24-8 bit conversion type can produce radically different results.

Some conversions cause wild color inaccuracies and artifacts. If the conversion of a soft graded color such as a sky is done with too few tones, bands of color can appear, called "banding." Adding a light texture (or noise at around 95% tran parency) to such an image can often minimize these problems when printing. The most accurate 24- to 8-bit color conversion I have found is in CorelPHOTO-PAINT! 5.0.

RGB to CMYK Most scanners work in 24-bit Red, Green, Blue (RGB) color mode. Yet for separations and printing , the Cyan, Magenta, Yellow, Black (CMYK) color mode is preferred.

To make the conversion from RGB to CMYK, the conversion software essentially subtracts an equal value from each of the three RGB colors to make the K layer, then takes the remainder of each color to make its complement. Conversion from CMYK should add the K layer densities back into each of the RGB layers and then add in the complements. Yet the conversion process itself can cause artifacts. It is best to work in one color mode such as RGB and, if a conversion to CMYK is needed, do it only once-and last-to avoid the accumulated conversion errors which can alter the image.

But remember, I have one co-worker who considers all color distortions a creative techniques, so the rule with scanning is experiment. The more you try, the more new techniques will be open to you.

Happy imaging!

•

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Technology

RESOURCES

Books

ever, is in its presentation of dozens of visually stunning computer images.

companies have accomplished using HP scanner products.

BECOMING A COMPUTER ARTIST

In addition to several hands-on computer art projects , Becoming a Computer Artist includes profiles of four computer artists and displays brief portfolios of their work. The author thoughtfully includes a short section on copyright law, including Section 101 of the Copyright Statute, the dread Work-For-Hire definition. A PC-compatible CD-ROM, bound in to the back of the book, contains images from the text and supporting files, a working trial version of graphics software from AT&T called RIO, and a preview of the interactive multimedia rendering of Becoming a Computer Artist.

The book includes a useful reference chapter with lists of books , periodicals , clip art sources and software available, including each company and phone number. This is an adequate introduction into the potential of scanning on Macintosh or PC computers.

By Chad M. Little $45 .00 174 pages, paperback PC-compatible CD-ROM included Published by SAMS Publis hing 201 West 103rd Street Indianapoli s, Indiana 46209

Lavishly illustrated and handsomely produced, Becoming a Computer Artist is a pseudo-autobiographical memoir in search of a textbook editor. The book has its genesis in the admirable impulse on the part of the author to humanize the study of computer graphics by personalizing it. The reader is led on a lightly fictionalized first-person account of a traditional artist who discovers a computer in an old warehouse. Turning the computer on, the artist discovers a computer homunculus, called Vincent, who leads the artist on a journey of discovery into the realm of computer graphics.

Along the way, the reader is meant to absorb the fundamentals and techniques of creating graphics on a computer.

-Sam McMillan

BRIEFLY NOTED: SUPER SCANNING TECHNIQUES

By Jerry B. Day 242 pages, paperback $24.00 Publi shed by Random Hou se Electronic Publi shing 201 Ea t 50th Street, New York, New York 10022

The problem with a book like this is that the format promises much that the execution can't deliver. If this is truly a personal journey of artistic discovery, then that journey had better be intrinsically interesting, and it had also better deliver the technical goods.

Unfortunately, Becoming a Computer Artist fails on both counts. Not only is the writing tepid and self-congratulatory, it gets in the way of the nuggets of information that the book does contain. Consequently, the good descriptions of the infancy of computer art, the fundamental difference between raster and vector graphics, as well as the overview of computer output options get lost in the babble of dialog between Vincent and his protege.

Where the book does succeed, how-

The chapter, "Real World Scanning," shows some samples of what different

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Super Scanning Techniques is about the basic concepts, issues and techniques any beginning user will need, including file formats , getting the best scan using the Hewlett Packard DeskScan software, tracing and illustrations and printing scanned images. Examples are well illustrated with black-andwhite images. A chapter titled "Scanning Tips and Techniques" may be especially useful.

While the emphasis is on using HP scanners and printers, the information should be general enough to be applicable to any equipment.

- Edward B. Bigelow

Literature

If you ' ve been sitting on the fence , wondering whether to buy a Power Macintosh , a Quadra or a Pentiumpowered PC, you may want to review the results of a recent study that compares Power Macintosh performance running publishing applications against a Mac Quadra 950, Mac Quadra 840AV and a Compaq Pentium-driven DeskPro. Designed specifically to measure performance of everyday tasks common to the publishing industry using software applications such as Adobe Photoshop, Aldus FreeHand, Frame Technology Framemaker and Fractal Design Painter, the results show the Power Macintosh 8100/80 out performing a 66 MHz Pentium-based computer by an average of 54%. To obtain a full study of this report, fax requests to Stacy Byrnes, Apple Public Relations, at (408) 974-1199.

Fractal Design Painter user now have their own newsletter. Artistry, a fourcolor, twelve-page newsletter published ten times a year, will provide how-to information, user profiles, examples of work and insight into related top ics such as resolution, output and finding a service bureau. Feature articles will be devoted to images created with Fractal 's software , accompanied by step-by-step explanations of how the

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Technology RESOURCES

artwork was created. For more information call (212) 737-7664.

Tools

Still-Image Phone promises simultaneous transmission of voice and highquality still images in high resolution (512 x 480 pixels and 16 million colors) over ordinary analog phone lines. Callers can use most industry standard camcorders, scanners, digital cameras and photo CD players to store images. Computer and mouse connectivity allows users at both ends of the call to highlight specific portions of the image and annotate them. Connected to a printer, the Still-Image Phone can double as a color fax machine. For more information call (310) 574-0095.

Wacom has enlarged its line of pressure sensitive graphics tablets for electronic designers and publishers. The UD1825R, designed for magazine and newspaper page design and layout, measures 25" wide by 18" high. The UD-1218R, at 12" x 18" allows work on two side-by-side 812'' x 11" pages simultaneously. For more information call (800) 922-6613.

Kodak's 157511580 Publishing Platform is designed for in- house graphics departments tasked with producing high quality, short run, accent color documents. Networked to a Macintosh or Windows-compatible PC, the platform doubles as a digital 400 DPI printer. For more information call (800) 255-3434.

Energy Saver adapter from Optiquest.

Designed to work with any computer system and comply with the EPA's EnergyStar™ requirements, Optiquest's software allows the user to specify three states of reduced energy consumption for times when the monitor is idle. With software dialed in at the lowest setting, typical users can save up to $50 per year in energy costs per monitor. For more information call (909) 468-3750.

Just in time for the national health care package comes a new Just Dingbats volume of clip art fonts called Health Care Images. Over 150 images and medical symbols can be installed into the computer as fonts, where they are easily accessible from the keyboard.

Available from The Communications Shop for Macintosh and PC computers. For more information call (800) 733-1650.

Altsys Font-0- Matic for the Macintosh allows users of this stand-alone software utility to create unique TrueType and PostScript fonts by applying bizarre effects to their existing fonts.

Effects, such as Swiss Cheese, Shattered, 3-D and Cow Spots are applied to a copy of existing fonts, leaving the original unaltered. For more information call (214) 680-2060.

Turn your monitor "green" with energy efficient software and an

Now available from FontHaus, several CD-ROMs delivering a variety of font and clip art packages. The Autologic Typescriber CD-ROM holds licensed Adobe, Bitstream and Autologic font libraries. Cost of the disc is $18 and individual fonts may be unlocked for $18 each by calling FontHaus. The Bitstream TypeShop is an unlocked CD-ROM that contains the entire Bitstream Typeface Library in PostScript Type 1 format. Bitstream TypeShop may be purchased for $595.

A third CD-ROM provides FontHaus 's collection of 13 sets of clip art Art Parts including Entertainment, Health & Medical, Sports & Recreation, Patterns and Occupations. The Art

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Now you can save your screen and the environment at the same time, with screen saver collections from Second Nature, a software maker that dedicates 10% of sales and all profits to The Nature Conservancy. For more information call (503) 221-1460.

P H 0 T 0 G R A P H Y

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Parts CD-ROM are Encapsulated PostScript images for the Macintosh. For more information call (800) 942-9110.

CheckPost, from Working Software International, provides a secure, errorfree means of sending PostScript files to service bureaus. CheckPost allows you to imitate imagesetter output on laser printers. The scaled down proof provides exact positioning of material and CheckPost locks the layout, guaranteeing there will be no reftowed text, substituted fonts or altered kerning. Since your service bureau doesn't have to open the application and set up printing, their time is reduced, and hopefully, so will their costs. For more information call (408) 423-5696.

If you must keep detailed records of

printed pages and color prints in order to maintain accurate client billing, security and version control, Working PrintLogger will automate the process.

Each log entry contains sequential item numbering, the time, date and name of the document, the number of pages and copies printed (or faxed) , as well as the name of the job, client and project. A companion utility, also available from Working Software, Inc. , called Working PrintStamper prints a unique item number, time, date and document name on every page of printed documents. For more information, call (800) 299-9675.

PageMaker users who change printers, print off site or use high resolution image setters may want to check out CheckList 2.5, an add-on software package from Aldus that alerts users to common printing problems before their file is actually printed. CheckList 2.5 reveals vital prepress information about font settings, printer settings , style sheets and linked graphics files. For more information call (206) 628-2320.

DayStar, makers of digital signal processor accelerator boards for the Macintosh, has just released a new

Technology RESOURCES

version of their Charger Suites Vol.1 software that offers dramatic increases in Photoshop acceleration. DayStar promises increased performance of 10 to 50% in over 20 supported Photoshop functions. For more information call (404) 967-2077, extension 583.

FlexCap, a new application technology from Westell, Inc., of Oswego, Illinois, promises to make high speed data retrieval and high-resolution graphic intensive telecommuting possible over traditional copper wire phone lines.

Using Flex Cap's Asymmetric Digital Subscriber Line system, 1.5 MBps of information can be transmitted from a central telephone office to a user's home PC. Planned applications include Computer Aided Drafting, Computer Simulation and Modeling.

Currently under test at Bell Atlantic, FlexCap could be offered to phone company subscribers later this year.

For further information, write Westell, Inc., 101 Kendall Point Drive, Oswego, Illinois 60543.

You've seen the movie, now play the CD. The Voyager Company's groundbreaking version of the Beatles' A Hard Day 's Night is now breaking through on Windows. A CD-ROM designed to run on IBM-PC compatible machines with Windows 3.1 software, Voyager's A Hard Days Night includes the complete, uncut black-and-white film, the original screenplay, a Beatles photo gallery and an interview with director Richard Lester, as well as film clips from his two previous movies. The $39.95 CD is available from Voyager by calling (800) 446-2001, or faxing (212) 431-5799.

Conferences

The 5th Annual Macintosh Summit Conference, hosted by Guy Kawasaki, offers graphic arts professionals a combination of extensive hands-on training in lab settings with lectures

by industry leaders such as Kai Krause and Robin Williams. Hands-on labs are offered in multimedia, digital imaging, desktop publishing and drawing.

August 17 through 20 at the University of California, Santa Barbara. For registration information, call (805) 893-4588.

Seybold San Francisco offers three days of intensive seminars on the changing face of the graphics, communications and publishing professions. Each day will highlight separate themes including Technology, Market Applications and Industry Issues. In addition, a two-day Quark Professional Symposium will provide Quark users with late-breaking information and hands-on training. September 13-16 at the Moscone Center. For more information call (800) 488-2883.

You can experience the explosion in the CD-ROM Industry firsthand at the CD-ROM Expo & Conference, October 5-7 at the World Trade Center, Boston, Massachusetts. Conference programs will explore the realm of digital publishing, as well as provide a hands-on experience for those interested in creating and producipg CDROMs. For more information call (617) 361-0817.

Agfa's Technology Exposition, devoted to the presentation of technology shaping the prepress and publishing industry, takes place October 31 through November 2 at Boston's World Trade Center. The exposition will highlight advanced technologies in scanning, computer platforms, digital photography, screening, image setting, digital printing and more. To register, or for more information, call (800) 367-9822

take a look at the Center for Creative Imaging's catalog of workshops. With facilities like the Multimedia Lab, the Silicon Graphics Lab and a full range of courses devoted to interactive multimedia, digital movies, 3-D production and business implications of high technology, the catalog provides a preview of the paradigm shift taking place in the graphic arts. Of course, you can also enroll for CCI's short, intensive workshops as well. More than 80 workshop offerings run the gamut from Page Layout to Life Figure Drawing on the Mac to Interactive Television. For information on classes call (800) 428-7400.

Rochester Institute of Technology's Training and Education Center of the Graphic Arts offers a wide variety of seminars for graphic arts professionals and those in the prepress and printing industry. Workshops range from Business and Production Management to Prepress and Production to Imaging Science and Technologies. For more information call (716) 475-5000.

Competitions

Deadline for entries in The School of Visual Arts's Second Annual New York Digital Salon & Computer Art & Design Show is September 1, 1994.

Computer artists are welcome to submit computer assisted art of any type, ranging from interactive installations, animations, prints and telecommunications events. The international juried exhibition will be held at the Visual Arts Museum, 209 East 23rd Street in Manhattan, November 14 to 26, 1994. For more information contact Dr. Timothy Binkley at (212) 592-2535.

-S.M.

Training

If you want to know where graphic design is heading in the digital age, C 0 M M U N I C AT I 0 N

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DESIGN

ISSUES

C INDY JENNINGS

THE STUDENT PERSPECTIVE S THE VERY CONTEXT AND TEXTURE OF the practice of graphic design evolves radically and the business cycles of our clients churn, I occasionally ponder: What exactly did I expect this line of work to be about? When I was an undergraduate preparing for this profession, what was I thinking? Did I have a clue?

A

cation and graphic design. This trend parallels a reduction in fine arts programs."

In addition, another estimated 1,300 to 2,500 community and junior colleges are running two- or three-year curriculums and issuing associate degrees.

Just how many graphic design students graduate in the U.S. each year? Not even counting these community and Having completed my own undergraduate university junior colleges, Ed Gold, professor in the Publications studies and earned a bachelors degree years ago , I can Design Program at the University of Baltimore, says: "It's still recall my eagerness to join the ranks of employed tough to identify but my impression is that perhaps 15,000 graphic designers. I remember my graduate each year from legitimate delight at actually getting paid to do programs with four-year degrees. The that which I enjoyed most. Of course, actual number is unverified since the "THER E'S AN INHERENT in those days Steven Jobs was tinkering U.S. Department of Labor has not around in his garage and "future shock" assigned a classification number for DANGER IN DEVEL OPING A graphic design with which to collect was a phenomenon we mostly just read accurate statistics." about in a bestseller by the same name.

RE P UTATI O N F OR C OMPUTE R That is, in a conventional book with The actual number of practicing graphic conventional pages of non-post-condesign professionals is apparently as C OM PETENCY. D E S KT OP sumer recycled paper. much a mystery as the number of students. The combined total runs into the hundreds of thousands. Gold cites shiftLITTLE M OR E T HAN ing employment patterns precipitated by the fundamental changes in the GL ORIFIED 'SEC RETA RY structure of design and the economy for this ambiguity. "Jobs in the obvious and Believing that students of design are the D ESIGNER' P O SITI O NS." easy-to-count traditional design firms future of design, I was curious about will be harder to get in the years to how students view the health of the - A STUDENT come. More opportunities will become profession, what their introductory work available in the in-house publication experiences have revealed, what their and design departments in corporations assessment might be of the impact of and institutions. However, it's impossible to track how technology and how optimistic they feel about their many are employed in these sorts of in-house departments." own prospects at becoming gainfully employed in the Comparing the size of the currently practicing graphic not-too-distant future. Just what do students expect this design community relative to the size of the annual waves line of work to be about? What are they thinking? Do of freshly-minted graduates gives one pause. The sheer they have a clue? critical mass of this student contingent demands our Recently I revisited the classroom to teach a semester course titled Professional Practice at the ~ansas City Art Institute, which turned out to be quite a learning experience for me.

PU B LISHING J OB S ARE

To quantify just how many students are currently engaged in some formal manner of preparation to enter the graphic design profession is difficult. No reliable census mechanism exists and those willing to venture guesses offer widely varying estimates.

Robert 0. Swinehart, associate professor in the Department of Design at Carnegie Mellon University, speculated that perhaps as many as 800 four-year programs are currently operating in this country and granting bachelor degrees.

"The very loose definition of what even constitutes a 'graphic design' program makes tracking difficult. Surveys conducted over the past decade indicate an increase in degree programs in advertising design, visual communi196

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attention and beckons our understanding.

I held an informal series of conversations with students at the Kansas City Art Institute to learn more about their opinions as well as to explore further some of the sentiments that had surfaced in my class. To encourage openness and squelch concern about jeopardizing job prospects, I promised anonymity. Though certainly not a statistically valid sample suitable for making big generalizations, these students did express a wide variety of observations on the future of design in general and their own careers in particular.

What is the perspective of students on the health of the design profession? Cicero said, "The skill to do comes

Walter Colley

Take a look at my book and we'll send you at-shirt (while they last).

DESIGN ISSUES

from doing." Internships are one popular avenue of introduction afforded those students fortunate enough to land such a position. What is the point of view of the intern?

One student had spent a portion of his semester in the production department of a local weekly business tabloid: "I was responsible for assembling the camera-ready materials submitted by the agencies; en route to press everything passed my way. I've been really surprised about the low caliber of the creative work being produced by the biggest and supposedly most competent firms.

Overall, the quality of the visual and verbal concepts was so tacky, so marginal."

responsibilities as the designer and the client dictating the design to me, essentially reducing me to merely taking orders. And besides, my work was free to them."

"We need to learn how to educate the client," remarked another student. I was glad to hear that the next generation of designers appreciates how central this task is. However, listening to multiple accounts of individual internships left me dismayed since most of the intern experiences described lacked both direct involvement in client conferences and exposure to skillful handling of client relations.

Introducing students to the pragmatics of client education may be accomplished through proper management of some sort of pro bono exercises. Chris North, assistant professor The business aspects of the marketing of one's services in the Department of Design at the University of Kansas, and selling of one's solutions were a described the twin predicament of pro repeated theme in our conversations. bono and work-on-speculation faced As one student put it, "The value of an by her students, "People call all the internship is to gain exposure to running time to prey upon students who are COMPARING THE SIZE OF THE and billing projects," and, "I need hungry to get published. These 'clients' experience in project management."

CURRENTLY PRACTICING typically .lack any understanding of Another observed, "As designers, we what the design field is all about and need more training in quantifying our GRAPHIC DESIGN COMMUNITY have the perception that the free art work, but design doesn't seem to lend work they are requesting is not really RELATIVE TO THE itself to value justification on a work at all, but rather, it's just fun." spreadsheet."

I stumbled upon another situation SIZE OF THE ANNUAL Swinehart, who is also a past presialtogether when I stopped by the dent of the Graphic Design Education department office at the Kansas City WAVES OF FRESHLY-MINTED Association, suggests that this value Art Institute and happened upon a students should prepare to contribute to letter tacked on the bulletin board. It GRADUATES GIVES their employers and clients, is itself in announced a competition for a new logo transition. "The definition of design is and invited students to submit their ONE PAUSE . simultaneously broadening and focusideas. I learned later that numerous ing. Students entering the field must design schools and art departments broaden their skills to respond to new throughout the region had received the opportunities in multimedia and kinetic mailing. This new logo was being sought by a leading comdesign. This expanded sharing of knowledge and expertise mercial classical radio station in the city, not a charitable across disciplines will require a relaxation of the traditional organization nor a cultural cause as might be expected. This proprietary lines. Like experienced designers, students is not public radio or even community radio, but comwill need greater focus in the future. It will be necessary mercial as in $80 per 60-second spot, according to their to know more and with greater specificity." current rate card. This cost reflects the earned frequency Another student with an internship at a design firm had discount rate for placing ten commercial spots per week. hoped to gain experience in dealing with clients. This The radio station request is described here in some detail student knew enough to know that he had much to learn, not just because it is exceptionally egregious but also such as how to incorporate or diplomatically deflect client because it is so very typical of what I consider to be suggestions, the protocol of making design revisions, as of students. exploitation well as how to lead a collaborative process in which it is Faculty members at the Kansas City Art Institute report . possible to guide the client to what they truly need, and multiple calls per week from people seeking free work. not merely to what they had presumed they wanted. HowFrequently, these callers act as if the notion of approachever, none of these very relevant matters were addressed within the context of his internship since, as he described ing students is completely novel, as if they're the first to it: "I mainly worked on pro bono projects, which was nice think of engaging students in this way. At the Art Institute, because they were for good causes. These clients drove the mailing from the radio station wasn't regarded as me crazy; they kept asking for more and more changes. unusual and was simply posted on the board along with I didn't understand where the limits were between my similar appeals.

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One student offered this rationale, "Students are tapped because they are more creative, and besides, I like to work for the public good." It became obviou that students are generally quite confused about what constitutes pro bono work as distinguished from work-on-speculation.

Citing a similar onslaught of requests, Meredith Davis, head of the Department of Graphic Design at North Carolina State University, reports fielding dozens of calls which extend an "offer" for her students to add to their portfolios. Reflecting upon the improbability that the format of such offers might actually benefit the student, she says, "You must ask the question: Just what are they adding to their portfolios?"

we were assigned this project, I was very excited. It was real! There was money and having your work printed was tempting! With these happy notions, I dove into the project with zeal."

In spite of the deliberate strategy with which this project was carefully reconfigured for the classroom, in retrospect it's difficult to view this exercise as much beyond a garden variety of work-on-speculation, and as such a violation of professional ethical standards. This is exploitative because all the participants on all the campuses who tackled this project, either in class or on their own, did not get compensated for their design efforts on behalf of this for-profit commercial enterprise; only the winner. It seems unfair that the radio station gained the benefit of the creative efforts of scores of students for a sum of money that can be considered nominal compensation by any commercial standard.

Davis, who is also the current president of the Graphic Design Education Association, believes that students need to be c1ear about this, "Pro bono should be understood as work contributed for a non-profit " THE COMPUTER IN ITS concern, which is motivated by one's sympathy with the cause and commitCAPACITY TO SMOOTH OVER ment to the value of the message.

Through donation, designers have the UNSATISFACTORY opportunity to influence the balance of what people are exposed to within the visual culture. This helps to prevent a INSTITUTIONS AND IDEAS public environment consisting solely of me sages which are commercially supIS THE TALCUM POWDER ported. Pro bono work is not a license to indulge in one's vanity; to exert OF THE MIND ." creative control over a client who can't afford to say 'No.' Conversely, students need to appreciate that their skills are - NEIL POSTMAN the vehicle enabling the link between the issue and public understanding."

When the radio station mailing arrived at the University of Kansas, North viewed it as an opportunity with potential educational value. She supplemented the solicitation with the addition of her own criteria to transform this competition into a class project. "Competitions can be a valid learning experience and should be available within the academic environment. However, they must be organized in such a way that both the students and the clients learn."

Assigned as a supervised project, each student in North's class was guided through the rigors of the design process, beginning with research, creative exploration and design development culminating in a presentation of their visual solutions to meet the objectives of this specific client.

As offered by the radio station, this assignment featured extra benefits for the designer of the winning entry: the prospect of a modest monetary scholarship award as well as the promise of publicity.

So what's not to like? Some students were happy, "When

This approach to procuring a new identity can only result in constellating and perpetuating the worst sort of client-designer (albeit student designer) relationship. If the purported advantage for the student is to acquire experience by working with a real client, a situation such as this lacks the mutual commitment, respect and benefit I've found to be essential to healthy client relations.

Despite the bargain enjoyed through this arrangement, when the competition was completed and they had their new logo in hand, the station reneged on their promises to both mount a public exhibition of the entries and to give formal recognition to the winner.

Disappointed with the radio station in their failure to follow through with these components of the deal which were planned ostensibly to enhance the learning process for participating students, North has now instituted stricter criteria for handling future requests received by her department at the University. "Foremost, there must be a conceptual value to the project which is educational for the student and the client. The students must have contact with the client, that is, direct and meaningful access which enables research. There must be a real budget and the prospective client must be a bona fide non-profit organization."

As a designer in an independent practice, I must admit my consternation to watch a for-profit commercial business accommodate their corporate identity needs in this nonprofessional manner. The effect on the prosperity of the design professionals practicing in this community is negative. As an isolated occurrence, this singular radio station's avoidance of investment in professional graphics is an admittedly minor loss in the actual amount of fees C 0 M M U N I C AT I 0 N

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generated. However, when this behavior is replicated by commercial enterprises throughout a given market, the cumulative impact is anything but minor. The damage is not merely financial; the much more significant consequence is the long term health of the profession within the context of the marketplace. The deterioration in the prevailing level of design sophistication, and with it, appreciation for professional designers is the ultimate loss.

But there was also something else: I suspect that the clamor of solicitation that is constantly directed at students creates a distorted and falsely optimistic perception on their part as to the actual volume of demand for design services that exists on the other side of the diploma.

Cyndi Lauper sang the truth: "Money changes everything."

Apparently some students were confused about the ethical ramifications before, during and after this episode with the radio station. One design student questioned why it might be considered to be unethical for students of design to do uncompensated work for clients while it's regarded as noble and even virtuous for students of dentistry, for example, to do free fillings and crowns for patients.

raising event to benefit a local shelter for abused women and their families.

Ethics in the professional arena have many dimen ionssome of which are specific to the conduct of graphic design in particular and others which seem pervasive throughout business in general. Since the students in my class were soon to join the real workplace, we broached the real workplace topic of sexual harassment. I explained what it was about (power and humiliation) and what it wasn' t (a rare or fabricated occurrence) and suggested this with some facts. I asked if anyone had had such experiences, perhaps through an internship position. Two hands shot up.

One student had interned in the sample department at a paper house. She told of the shock and insult to learn through the grapevine that her physical attributes had become the object of much appraisal and lurid fantasizing " PRO BONO SHOULD BE among senior male staff members in the office. "It was really embarrassing.

UNDERSTOOD AS WORK I felt self-conscious, and yet, I couldn 't do anything about it because it was CONTRIBUTED FOR A NON done behind my back. And beside s, what are you going to say?"

PROFIT CONCERN , WHICH IS MOTIVATED BY ONE ' S

The other student described harassment while working in his part-time position in the art department at the city 's major daily newspaper. "I was 'hit on' by one of the upper level men in the office.

He flirted and repeatedly made overt sexual overtures; it was nasty. When I finally confided in one of my superiors, my complaints were dismissed with the explanation that thi s man propositioned ' all the guys ' and I should just ignore it."

Reflecting upon this question seriously, SYMPATHY WITH THE CAUSE many differences become obvious between the ethics of dental and design AND COMMITMENT TO THE students. Dental students provide services that are routine procedures with VALUE OF THE MESSAGE ." predictable results to patients who are primarily indigent. The dental student - M E R E DITH D A VIS need not invest any particular creative effort in any individual patient beyond the duration of the scheduled appointment session. Plus, the success of these dental treatments The introduction to the professional workplace endured does not depend upon the patient's input and interaction, by these two students easily satisfies the "hostile environbeyond the patient's willingness to submit to the skill ment" standard delineated in both of the most recent and wisdom of the dental student.

Supreme Court decisions on this issue. Yet these are the Conversely, the design students provide unique solutions tailored to specific communication needs, none of which is particularly routine or predictable. Client involvement, collaboration and investment are required for any successful design outcome. And unlike the appreciation expressed by patients for the gratis dentistry, it was not insignificant that the pro bono experiences related by the students were consistent. All too often those who contributed design work were neither appreciated for their dedicated effort nor necessarily respected for their trained skill or talent.

Striving to provide guidance in engaging these complexities, faculty at the Kansas City Art Institute continue to encourage students to be involved, both in and out of the classroom. For example, one instructor formulated a class project to design the publicity materials for a fund 200

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stories of two design students brave enough to speak out.

That is, brave enough to speak out in our cla s but not bold enough to stand up for their rights at either the paper company or the newspaper office, the only venues where something could have been done to curtail the problem.

Perhaps tempered by observing the high profile harassment cases played out in the media, these students acknowledged the almost certain career damage, especially for the victim.

While seeking exposure to the profession the e students instead found themselves in awkward, distracting situations with no good options. Each resolved to endure and move on as quickly, as quietly as possible.

What about the impact of technology? These are typical expressions of student enthusiasm, "I embrace the computer as a means of trying to find something new, more

exciting, to push the limits," and, "I think employers seek to hire recent graduates since we are seen as computer gurus."

According to Carnegie Mellon's Swinehart, "It's no longer a luxury to be computer literate, it's a given. The question becomes what else can those entering the profession now do to move beyond at?-d into different, more cross-disciplinary specialties. Technology aside, the emphasis in both design education and practice remains defining and solving problems. Designers have been solving problems for a long time-too many of which have ju t never been adequately defined. The addition of new technology hasn't eliminated such inadequacies."

were confronted with an updated version of the perennial dilemma. In launching their design careers, how were they to reconcile the fact that their primary attractiveness to potential employers resides in their very current technical skills with their very adamant opposition to being relegated to technical desktop production jobs?

Gold asserts it is precisely these introductory desktop publishing jobs that represent the entry level opportunities in today's market, but, "If you're talented, it will come through even in such a position. Terrific designers will always find their way."

With a sigh, one student explained his guarded optimism Concerning the accelerated cycle of computer product this way, "I've not graduated and I'm not even out there introductions and upgrades, there is a question that the working and yet, I'm already jaded. But then again, if hardware configurations and software you're talented perhaps chances are versions in which they'd been schooled good there will be room for you." might effectively be obsolete by the "THE DEFINITION OF DESIGN Considering the sizable though indeterhour they graduate, if not before. Several minate number of students either students declared with confidence, "We IS SIMULTANEOUSLY or progressing toward graduating have to tay on top of it, actually, we graduation with some form of design just have to stay ahead of it."

BROADENING AND FOCUSING. degree or certificate this year, and every Yet Gold blames technology for a real year, it is clear that the profession is deterioration in the design process itself.

STUDENTS ENTERING THE not in any position to absorb all this "It takes longer due to the seduction of new talent. It has long been accepted working on the computer. I see a new FIELD MUST BROADEN THEIR and even expected that aspiring actors tendency to play games with type and bide time working in restaurants waitphotography, coupled with less planSKILLS TO RESPOND TO NEW ing tables while repeatedly auditioning ning, followed by endless and mostly for the opportunity to ply their creative mindless refinement. Many ideas lack OPPORTUNITIES IN MULTIcraft on the stage. Unfortunately, the concept and are merely a manipulation supply and demand equation as it of images."

MEDIA AND KINETIC DESIGN." prevails in the current design market Some students concurred with Neil suggests that aspiring actors may face - ROBERT 0. SWI EHART Postman's equally skeptical view as new competition for these restaurant asserted in his book Technopoly: The jobs from among the growing, graduatSurrender of Culture to Technology, "Our ing ranks of aspiring graphic designers. inventions are but improved means to an unimproved Dissipated in this manner by both choice and necessity end." Postman continued his indictment, "The computer in in the future, these students of design will more thoroughly its capacity to smooth over unsatisfactory institutions and infiltrate the commercial and cultural spheres. As a result, ideas is the talcum powder of the mind." More than one student echoed Postman, "It i a problem when technology their educated sensitivity to the benefits of quality design is the focus because the ideas get lost," while another holds forth the promise of greater influence, which may was even more succinct, "The tech is out of control." yield an enriched visual environment all the way around.

With apologies to Voltaire, perhaps this scattered enlightOne student insisted, "The computer is only a tool." Yet, "is for the best in the best of possible worlds." enment along with the necessary embracing of this tool, another warned, "There's an inherent danger in developing a reputation for computer competency. Desktop publishing jobs are little more than glorified 'secretary-designer' positions." Several expressed reservations about taking any job with primarily desktop publishing or electronic production responsibilities, saying, "Sure, I'm qualified Editor's note: The most intelligent designers, I find, are often technologically, but I've studied to be a designer and not perennial students. Besides maintaining her design career, a data transcriber."

Cindy Jennings is persuing a master's degree, which made When discussing their professional goals while evaluather the ideal choice to write this article. -DK Holland ing their actual job options, the e soon-to-graduate students

•

C 0 M M U N I C AT I 0 N

A RT S

201

LEGAL

AFFAIRS

SusAN McCARTNEY

STOCK PICTURE MARKETS AND

HOW

TO

This article was adapted from Nature & Wildlife Photography

by Susan McCartney, published by Allworth Press.

OU PROBABLY HAVE AMASSED A FAIR quantity of very good or excellent nature and wildlife images if you are a professional photographer of any kind who gets outdoors as often as possible, and you frequently take pictures of large or small animals, or birds, plants, marine life, or landscapes as part of your work, or for personal pleasure.

Y

The Big Business of Stock Today A stock picture can theoretically be any existing picture, available for viewing before purchase (as opposed to pictures taken on assignment or commission, which cannot be seen before a user invests money).

Today, stock is a multimillion-dollar business. The biggest stock agencies are international, well organized and highly competitive, and now quite hard to affiliate with unless the work is exceptional. There are also some mid sized and smaller stock agencies, which are somewhat easier to crack.

Today, most of the stock pictures that are sold (more accurately, licensed for use) are marketed by stock picture agencies (sometimes called picture libraries). Some stock is marketed by the owners or copyright holders of specialized, often historic, picture collections. A fairly small number of photographers function seriously as their own stock agents, employ a staff, perhaps market the work of a few other photographers in addition to shooting themselves.

There are a few stock cooperatives of photographers who get together to share office space, and the cost of staff.

Finally, a few organizations, like certain publishing companies, zoos, and museums, market their own specialized picture collections.

Most individual photographers sell only their own work.

All serious stock photographers, agencies .and organizations have carefully edited collections of filed, indexed, easyto-access, captioned pictures. Many do careful research to find out what subjects are in current demand. Some photographers, and a few stock agencies, function rather like TV or movie production houses, setting up shoots, traveling to prime locations at the best times of year on a regular basis, and even paying for wildlife models.

Promoting Stock Pictures While almost any competent photographer can sell an occasional picture for stock (timing is an important factor), professional stock photographers promote their work.

Most important picture collections are known about by 204

P H 0 T 0 G R A P H Y

A

N U A L

19 9 4

REACH

THEM

picture researchers (who can be taff or freelance) and big stock users. Individuals who meet criteria (a certain number of published credits and quantity of pictures available as stock) can pay for an all-type listing in the Green Book, which is considered the tandard reference source for nature stock users. The cost is quite moderate (currently around $500). A rather newer venture, Stock Direct, is a catalog where individual photographers can buy space to showcase pictures that they feel will sell well as stock; again there are specific criteria for inclusion. This book showcases many general stock pictures of the most popular categories (people, travel, industry, and the like) besides some nature and wildlife images, and currently costs about $2,000 per page.

Starting right about now, it is becoming standard practice for the largest agents, and some pioneering photographers, to market collections of pictures on CD-ROM discs. These are in effect catalogs and are also distributed to top stock users.

Marketing Your Own Stock Individual nature/wildlife photographers who want to start marketing stock without an agent must work hard so that potential buyers become aware of the pictures they have. If you want to try to market stock, first edit and accurately caption your best picture . Then, make a detailed listing of the subject matter. Next, search in libraries to see who uses those types of pictures. Browse among nature magazines, science textbooks, and children's magazines and books to begin with. All of them u e a lot of nature and wildlife pictures. Then send out your stock list, perhaps with a photo card or inexpensive print, follow up with phone calls to show a portfolio.

Locating Stock Agents PACA- The Picture Agency Council of America-is an organization of about 100 member stock agencies of various sizes, most are in the U.S., but many also have international affiliations. All members have agreed to adopt a code of ethics for dealings with photographers and clients. They publish a directory of their members , with phone numbers and contact name . Approximate numbers of picture on file with each agency is li ted (from which you can judge the size of the agency) along with agency specialties. Obtain a copy of this directory by writing to the president of PACA, c/o a member agency (which changes each year). The directory currently costs $5. It can also usually be obtained from any PACA member agency (consult the Yellow Pages in the biggest

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LEGAL AFFAIRS

cities), and also is given away at major photo shows where PACA exhibits. (See Directory, page 242, for resources.)

Presenting Your Work to A Stock Agent

Photographer or agency letterhead

Check out the PACA Directory, stock sourcebooks, and books about stock. Ask photographers about the stock agency(ies) they are affiliated with. Then edit the original pictures you are prepared to part with, very carefully. (Do not show dupes or any technically poor work.) Sort these very good and excellent pictures into groups, stamp them with your copyright notice, and put them into twenty-slide plastic sheets. Write a short letter or list summarizing what you have. Call, write, or fax an agency that interests you and ask if they are interested. If they say yes, ask how many pictures they want to see (average is 200-500).

Arrange an appointment with a picture editor, or drop off work, or send the pictures by certified or registered mail.

(List both phone and fax numbers)

Protect Your Copyright

Attn : Mr Charles Client Eco-Equipment Manufacturing Company 25 Greanleaf Avenue Nicetown. MN 12345

Date:

Notice: The pictures listed below are submitted , at your request. for examination only. They may not be reproduced , duplicated. photocopied . electronically scanned or stored, or used as artist or photographer reference without a signed licensing agreement from photographer or his (her) agent. The client agrees not to project these valuable images. or expose them to sunlight, heat. or dust, or to subject them to damp or humid conditions. Client (named above) is responsible for loss or damage from moment of rece ipt until returned to the photographer.

If you want to market stock, or authorize an agency to market it for you, you must own the copyright of the photograph. Stock photographers and agencies almost never sell the copyright in a work outright, but license limited usage.

The pictures may be examined free for two weeks (or period of your choice).

Note: Copyright laws vary in different countries. (For more on copyright law, see the ASMP Stock Picture Handbook.)

Please check count and acknowledge receipt of images by signi ng below. After five days, count will be assumed correct and pictures acceptable for reproduction .

Always mark each picture (original or duplicate) with a rubber stamp or computer type small enough to fit on the mount, with your name, the international copyright symbol (©) , and the year the picture was taken, thus:

Quantity

Photograph copyright © Fabulous Photographer 199_.

2 Mt. Rainier, WA

When the client wants to use any image, send a stock licensing agreement, stating the licensing fee, and the terms and conditions for reproduction.

Digital Images, CD-ROM and the Stock-Picture Business The use of digital cameras in professional news and sports photography is increasing quite rapidly. Time is more important than picture quality in these areas; the images can be transmitted over phone lines. But digital images are still of very low resolution compared to those made on conventional film. The same thing is true of video images; the resolving power of even professional videotape is not as good as that of 35mm film. It seems likely that most still nature pictures will be shot on conventional film for many years to come. However, the scanning and P H 0 T 0 G R A P H Y

A N N U A L

After two weeks a holding fee of $1 (or other fee) per picture per day will be charged, unless noted to the contrary below.

Subject

1 Mt. Robson. BC, pink dawn

Never, never send any pictures anywhere unsolicited, or send any requested pictures anywhere without a stock delivery memo listing subjects, stating the value of each image, and setting out client's responsibility in case a picture is lost or damaged. In the case of valuable images, reduce risk by sending out duplicates (dupes).

206

SAMPLE STOCK PICTURE DELIVERY MEMO

I 9 9 4

Format

Color/ b&w

35mm vert

color

1 View of Green Mts. VT. snow Butte, Monument Valley, AZ. sunset" 1 Yellowstone peaks. MT 6 Mt. Evans, CO

Agreed Value $2,500* $1 ,500 each $1,500 $1 ,500 $1,500 $1,500 each

As per our agreement. a research fee of $60 (or other amount) will be charged if no images are used. This fee is deductible from license fees of over $500. *Denotes especially valuable image, as per our telephone agreement.

Return: This submission is cond itioned on the return of all items, undamaged, unaltered. and unretouched.

Client (named above) assumes all risks for the items listed fro m the time of receipt by client to the time of receipt by photographer or his (her) agent.

Your carrier loss or damage: Reimbursement for loss/ damage shall be amount(s) indicated above. Do demand a receipt from your ca rri er. and insure shipment.

Receipt acknowledged for client: (Signed) _ _-,--_ _ _ _ _ _ _ _ _ Date:_ _ _ __

CURRENT

BEST-SELLING

• Animals/b irds large in foreground of beautiful/magnificent landscape possibly with water, flowers, mountains (symbolic of healthy ecosystem).

• Drops of clean water, clear blue water, flowing waterfalls (symbolic of purity; industries' concern for the environment).

• Eagles (all species , but especially bald eagle, symbolic of U.S.).

• Green pristine landscapes in general (symbol ic of the environment).

• Large flights of birds (symbolic of migration; nature's bounty).

• Large herds of moving animals (symbolic of fears about extinction of wi.ldlife;

NATURE

nature's bounty; also herd instinct).

• Large schools of fish (symbolic of clean, healthy ocean).

STOCK

SUBJECTS

• Primates in general (amusing symbols of human traits and emotions).

• Magnificent old trees (symbolic of maturity, continuity) .

• Rain forests , pine forests, mixed hardwood forests (symbolic of concerns about logging, global warming, and the future of the planet).

• Mountains (symbolic of permanence, strength; pure clean air).

• Salmon (currently in news because concern about decline in numbers).

• Owls (all species, symbolic of wisdom; burning midnight oil ; also northern spotted owl; current symbol of conservation causes).

• Sharks (symbolic of business climate; ruthless power; in the news currently because of overhunting, declining numbers).

• Pandas (cute, cuddly; almost extinct. currently in the news).

• Wolves (symbolic of freedom in nature; current subject of intense debate between conservationists and those wishing to exterminate wolves).

• Penguins (amusing metaphors for humans; symbol of Antarctica).

digitalizing of both professional and amateur photographs shot on conventional film onto computers, either as discs for viewing only, or discs for viewing and downloading to other computers for publication, is now a fact. Photographs are enjoyed, marketed, retouched, and printed via computer.

Scans to disc are now the method of choice for preserving valuable fine-art, historic, and stock images. Imported onto a computer, they can be digitally retouched, repaired, or otherwise manipulated, before they are either "outputted" onto film again, or separated directly for reproduction (w hich lowers the cost of color printing considerably).

Collections of pictures scanned onto CD-ROM discs are now being used to market stock by some agencies and by some pioneering photographers. It is now cheaper to show work on disc than to print it in a catalog.

All of the advances are good for most professional photographers. Not so good are the possibilities that exist for the less-than-honest users to "import" (transfer) pictures from discs onto their own computers for use without payment to a photographer or agency.

Professional organizations and individual stock photographers are working very hard to raise consciousness and to have copyright laws strengthened to make it easier for photographers to collect damages for willful copyright infringement, and to perfect "watermarks" on scanned images intended for viewing only, so they would be very difficult and expensive to retouch for reproduction.

The Money Side of Stock Stock at one time was mostly a by-product of assignment photography. Today, there are comparatively few big magazines that give assignments, fewer still that give lavish ones, and the great majority of stock is produced by photographers who must bear the expenses involved up front.

More and more photographers specialize in shooting only

for stock. The successful ones spend much effort researching what sells best, and they must have some money to initially invest, because it takes time, months or even years sometimes, for stock to circulate, be selected, published, and paid for.

If a photographer uses a stock agent, or agents, the agency

edits all new work submitted, keeps the images they think will sell on file to show to interested buyers; most today advertise their agency and photographers. They do not pay any money to a photographer until his or her pictures are used by clients. (Note that pictures are almost never sold outright, but rather the right to reproduce them is leased, or technically licensed, for limited uses and/or specific time periods.)

Stock agencies make their profit margin, and pay expenses, by taking a commission from the licensing fees received.

Agency commission is often, not always , 50%: agencies get paid when the pictures are leased, not before. Photographers receive their fees with commission deducted.

Almost all stock photographers are paid after pictures are licensed, used, published, and the agency has been paid by the user. Photographers are then paid on a time schedule negotiated with the agency. Payment policies vary and are negotiable to some extent. Some agencies pay monthly, some quarterly; photographers with few sales may get checks every six months, or even annually. Some photographers with few pictures on file may make no sales at all. Stock is partly a game of numbers; the more pictures you have, especially printed in an agency catalog, the better your chance of sales.

Photographers who market their own stock of course get paid directly by the client at the time of use. They can then keep all of the fee, but for this they have to negotiate fees, "pull" (edit) pictures for clients, log them in, send them out, negotiate prices, log returned used or unused pictures back in again, check them for damage, bill clients, C 0 M M U N I C AT I 0 N

A R T S

207

LEGAL AFFAIRS

collect fees due, keep track of slow or nonpayers, and more.

For a definitive guide to the business side of stock, see Michal Heron's How to Shoot Stock Pictures that Sell (Allworth Press, 1991) even though it's not about nature photography. Also see the Guilfoyle Report, the wellrespected newsletter of nature and wildlife photography, published four times a year, with a supplement that also appears four times a year by AG Editions, New York, publishers of the Green Book directory; Pricing Photography,

by Michal Heron and David MacTavish, (Allworth Press, 1993) and/or Negotiating Stock Picture Prices, by Jim Pickerell (Pickerell Marketing, Rockville, Maryland).

Taking Stock is a bimonthly newsletter edited by successful stock photographer Jim Pickerell. It is devoted to stock as a business and to industry trends. Subscribe especially if you are interested in keeping up with the latest about digital imagery. Jim is an acknowledged expert and a passionate crusader for photographers' rights, in this area.

The Photographer's Market is an annual which includes many nature stock buyers in its listings, good especially for calendars, paper goods, greeting cards, and poster companies. Not all top-paying magazine markets are included.

Also see resources, and the bibliography, at the end of the book.

Editorial Markets Editorial users of stock nature pictures include internationally known nature-oriented and specialist magazines like Audubon, BBC Wildlife, National Parks, and Natural History, as well as smaller magazines like Birding. Gardening, travel, and outdoor magazines use nature pictures from time to time. There are several excellent nature magazines for children, notably Ranger Rick, and National Geo-

graphic's World, and also various Scholastic and other classroom publications. While magazines do buy individual pictures, what they most like to see are stories, showing the life of an animal, or an ecosystem. Some stories may take months or years to shoot. Top New York stock agent Norman Owen Tomalin told me, "If I have a story, I can market it. If I have single pictures , they have to wait to be discovered."

Trade (general-interest) books, children 's books , and especially textbooks of all levels are big users of nature pictures too. To see all these, and get name to query, browse in a good magazine store or bookstore, or a general or school library. Then call and find out how to submit to a publisher whom you think your work will intere t, or "fit."

Most picture and textbook publishers, and some magazines, especially foreign ones, employ picture researchers, either on staff or freelance. Many of them in this country belong to ASPP, the American Society of Picture Professionals.

Other Markets The last market for nature pictures of all kinds i loosely called "paper goods," this includes publishers of calendars, posters and greeting cards. Check stores that sell these goods, look on the back of calendars and cards for publishers' names, and consult the annual Photographer 's Market directory.

Copies of the 254-page book may be ordered by sending a check for $18.95 plus $3 for shipping and handling (New York residents must add sales tax) to Allworth Press, 10 East 23rd Street, Suite 400, New York, New York 10010. For VISA or MasterCard orders, call (800) 247-6553.

PERENNIAL BEST SELLING NATURE/WILDLIFE SUBJECTS • Animal families .

• Baby and young animals .

• Bears (all species, especially in the wild; can be shown as cute or magnificent; currently much-photographed so competition is intense).

• Coral reefs with colorful fish (symbol of tropical vacations).

• Beautiful or hardworking insects (butterflies, bees, spiders, ants).

• Elephants (but today should be taken in the wild to sell as stock; symbolic of wisdom, longevity, long memory; endangered).

• Big cats, all species (symbols of beauty, grace, speed, power).

• Females of all species with young (symbolic of caring, compassion).

• Birds leading V-shaped flights (symbolic of change of seasons; also purpose, business leadership).

• Fighting animals; not too bloody (symbolic of business competition).

• Close-ups of leaves showing veins (symbolic of human vascular system).

208

• Colorful small birds, especially bluebirds; and cardinals or robins in snow (used on greeting cards).

P H 0 T 0 G R A P H Y

A N N U A L

• Fluffy, furry, pretty small animals (used a lot on greeting cards).

• Frogs, green tree frogs (these are now

I 9 9 4

the symbol of the rain forest).

• Lions (the king of beasts; even good close-ups taken in zoos sell).

• Male animals of any species with magnificent horns or antlers (symbolic of power, pride, assurance, virility).

• Parrots, macaws (very colorful; symbolic of rain forests; endangered).

• Primates; all kinds, especially with expressive faces, humorous shots, or actions mimicing human behavior.

• Romantic flowers, bouquets; roses and violets, white flowers, and lately, lush fields of wildflowers, and seasonal images of fall leaves and snow scenes sell for greeting cards and some calendars .

Are you reading this? The experts predict the world of tomorrow will be fully wired and everyone will have headphones and virtual reality goggles and spend all their time buying cubic zirconium. Of course they usually make these predictions in 10-point Garamond. Keep the faith. Design it , as if someone's going to read it.

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FREE-LANCE BARBARA GORDON

WORKING IN TODAY'S MARKETPLACE N TODAY'S UNIQUELY COMPETITIVE FREElance market, the freelancer has to make some serious decisions in order to survive and prosper.

There are specific areas that I'd like to discuss that play important roles in financial prosperity and growth.

I

Know your market, or who the buying audience is, for your work. It is critical that you know your buying audience so that you can structure your portfolio, as well as plan your advertising and sales promotion. What are buyers looking for when they look at portfolios, directories, ads and mailers? Let me elaborate on what my experience has shown me. While it's true that the buying audience can be diverse, anyone in the business of selling art and photography soon realizes that buyers fall predominately into two groups.

The first group consists of people looking at portfolios and source books to find freelancers who are doing exactly what they need done. They are the subject-matter oriented component of the audience. We've all encountered them.

They have a job that requires a dog or food in it, so they immediately call in portfolios that have dogs or food in them. In fact they are often quite explicit in telling you that is all they want to see.

The second group is "concept" oriented. They have an idea or approach they have to get across and are interested in how the freelancer thinks and designs. These buyers sometimes look at subject matter as well, but more often they are looking for creativity in the work, and frequently the pieces they look at have no relation to the project.

Because of these two distinct groups in the buying audience, today 's freelancer has to decide whether to aim at one or both parts of the audience when setting up portfolios, advertising and promotions. A lot depends on the strengths of the freelancer. Some freelancers are wonderful at coming up with concepts that sell, and have a highly developed design sense, so they may want to stress this. Others are exquisite crafts people, not as strong on concept, and may want to target just one part of the audience.

Does the portfolio have to consist of only published pieces? No. If you are not getting the proper portfolio pieces through paid assignments, then do the pieces you think are more appropriate on an experimental basis, on your own time, and add them to your portfolio and promotions. In many cases, you'll find that you will sell reproduction rights on these experimental pieces and they will be published anyway.

A note of caution. If a freelancer is very specialized, i.e. , they only do horses or children, then they may want to develop a very specific client list and target only to that audience. Just as the advertising and publishing clients we work for know their buying audiences and tailor their products to them, today's freelancers must do the same.

How should you market and sell yourself? Do you need a rep? Should you represent yourself or do you need consultations here and there? Unless a freelancer really likes the rough and tumble world of selling and has the energy to both sell and create, the best solution is to connect with a full-time rep. This is assuming you can find a representative who shares your goals and ideals and will represent you properly. But just as finding the right life mate can be a long and arduous journey, finding the right representative can involve even more hunting. If you can't find a representative who shares your values and philosophies, then represent yourself because a bad rep-talent relationship is only doomed to failure.

What about consultants, can they help? In my opinion, the answer is yes, but with some qualifications. If a freelancer needs advice on setting up or editing a portfolio, or what to put in ads and promotion pieces, then there are numerous consultants in all disciplines who can advise and help.

When it comes to getting advice in the areas of sellingpricing, making a sales pitch, negotiating usage or working conditions-! strongly believe that only a representative working in the field on a daily basis can advise you on selling strategies. The business climate and selling arena change on an almost weekly basis and in some areas the pricing situation is an impenetrable jungle: at the risk of sounding partial to working representatives, I feel only a working rep can realistically advise on immediate selling and marketing strategies.

When bidding there are certain rules I like to follow. I want to know if it is a true bid situation, where the project will go to the lowest bidder, or one in which the decision has already been made as to who will get the job and the agency is just looking for another bid to flesh out the bidding process. I'm very up-front about telling art directors or buyers that I'll accommodate them with a bid if they need another one, but I don't want to have to go through a lot of work to develop a bid for a project that we are not even being considered for.

If the bid situation is real, where a project will be awarded on price only, I want to know who the other bidders are C 0 M M U N I C AT I 0 N

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so that I can determine if they are in the same talent range.

If the talent is not in the same experience or ability range, it is a good idea to point this out to the agency, and once again we may want to reconsider whether we ' ll bid. If our competition is a beginner, fresh out of school and hungry for work, we ' re probably facing an unrealistic bid situation from the start. A bid situation has to be fair to be realistic.

When we do bid, we price the job fairly, based on usage and time involved. We usually have a high and low range on the job. If the project is one that we really want and all of the bidders are equal in ability, we may come in at the low end of our range. Sometimes a project is so complex and labor intensive that we arrive at one price that we feel is fair and then live or die with that bid. The clue to bidding is that, after you determine exactly what the bid situation is, you have to come up with a fair price, fair to you and to the client. There are times when you'll get the job, even though you were not the lowest bid, because you had the skill or look that the client wanted, and conversely, there are times you'll lose the job, based solely

on price, even though you were the most qualified freelancer to do the job. Before the bid situation arises, you as a freelancer must decide on your own pricing policy. Will you price fairly and stick with it, or will your cash flow, or lack of it, determine your bid? Personally, I've determined that over the long haul, a price that's fair to both the freelancer and the client is the best policy to follow.

To make it in today 's freelance market: Know who your buying audience is and what they want; get the best possible sales and marketing help that you can and don 't settle for second best; decide your pricing and bidding strategy before the need arises and always be fair to yourself and your client.

•

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collection of editable outlines of coastlines, borders, and states. This resource, presented in EPS and TIFF formats, perfectly complements Mou TAIN HIGH MAPs TM relief images, and is also avaJ able separately.

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A N N U A L

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NOCK, VA 22560. fax : (804) 758-4512

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ADVERTISING TODD LIEF

SAFETY CAN BE DANGEROUS

W

HEN CONDITIONS ARE JUST RIGHT IN the town where I live and work, a certain rumbling can sometimes be felt in the civic solar plexus.

Collective indigestion? Potential for breakthrough?

And far too many of us in client offices in cities and suburbs still blink upon exposure to some hot, dazzlingly unexpected new ideas we specifically asked for and think, "Golly. We've never done anything like that before. What would Mr. Big say?"

Of course we've never done, or seen, anything like that before. Neither has anyone else.

That's what novelty is all about: actually being new, not just reciting "There is one elementary truth, the word "new," or aping somebody else's new as just seen on TV. the ignorance of which kills countless ideas Trouble is, the only place this can and splendid plans. ever happen is out on unknown ground, where it's never been done That the moment one definitely commits before. This can be risky. But if oneself, then Providence moves, too. you're smart, and lucky, and have some talent, and some courage, it's All sorts of things occur to help one that also where you can still get to do would otherwise not have occurred. something for the first time.

Whatever. Self-imposed intimidation usually squelches it right away.

I sometimes think our mainstream communications industry suffers from a kind of institutionalized reluctance to do anything for the first time. Maybe you've noticed it in your neighborhood, too.

In Chicago, at least, we have stunning and welcome evidence of innovative power all over the place in our architecture, music, local theater, basketball and an especially appetizing restaurant business. But when it comes to visual and verbal thinking of the commercially persuasive variety, all too often this international powerhouse of a town feels and acts creatively withdrawn, timid, off its game, reluctant to flirt with the edge.

Here the ailment even has an official name, so it must be real: the second city syndrome.

A whole stream of events issues from the decision raising in one's favor all manner of unforeseen incidents and meetings and material assistance which no one would have dreamed would come their way.

Whatever you can do or dream you can do, do it now. Boldness has genius, power and magic in it. Begin it now. "

People aren't the problem. Actually, Chicago people have never been the problem. Just count the one who had to leave town to make it, in every area from art to entertainment.

We have more than our hare of the best and the brightest right now, writing and drawing and mousing around and wanting to make a difference.

We have clients who want to make a difference.

We have arts and patrons of the arts.

We have money. We have power and energy. We have space. We have time. We have equipment. We know how to get from Point A to Point B, and we also know the scenic route isn't a straight line.

-GOETHE

Familiar symptom: the need to do it-whatever it is-like they do it somewhere else. In New York, usually. Or, lately, Portland or Seattle. Or perhaps like Minneapolis. Or San Francisco. Or Milan. Or Berlin. Or Tokyo. Or L. A. Or that other agency across the street. Or that other writer or designer down the hall. Or that other anybody, anywhere, just so they do it first, take the risk, survive the experience-even with distinction-and give the rest of us something to imitate.

Sure, there are lots of exceptions, and you know who you are.

But far too many of us in advertising agencies and design firms still seek our inspiration for next year's "really creative" campaigns in last year's awards annuals.

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What seems to be missing is that something in the air, that shared spirit of possibility, that enriched atmosphere where critical mass can form, the Zeitgeist that doesn't just tolerate or condone experimentation and novelty, but requires it.

Paris in the twenties? New York in the forties? London in the sixties? Anywhere you're in love?

Then again, as Chicago 's legendary adman Leo Burnett once remarked, "If you wanted to be different just for the sake of being different, you could always come downstairs for breakfast one morning with a sock in your mouth. "

ADVERTISING

Sock in your mouth, indeed. Ha-ha. Ridiculous.

EAGER-TO-PLEASE

~EDITOR~

~FLASHES~

~ STUNNED BURNETT ~

~ CREATIVES. ~

Interestingly, ridiculous remarks from one era ("Earth is round." Ha-ha. "Stars are suns." Ha-ha.) often reveal unsuspected and unintended truths about what may lie around the corner. In its time, Burnett's sarcastic remark merely expressed a preference for what we might today call "identifiable relevance in creative problem-solving" or an idea so stupendously reasonable even now that who could possibly argue with it? Creativity must always take place within certain limits, sometimes explicitly defined, sometimes implicitly cultural. But "never be different just for the sake of being different."

Never show up with a sock in your mouth.

Never color outside the lines, either.

Never use a brush where a pen would do.

Never use a hammer where a fly swatter would do.

Never bother learning the computer. Typing is for secretaries.

Never shoot a photo out of focus.

Never tell the client what you really think.

Never overexpose. Never underexpose.

Never bind a newsletter with a grommet.

Never send a boy (girl) to do a man's (woman's) job.

Never quit a job before you have another one.

Never go over your boss's head.

Never mail a letter in anger.

Never rock the boat, never reinvent the wheel, don't fix it if it ain't broke, don't compare apples and oranges, don't try to make a silk purse out of a sow's ear.

I wonder.

Maybe we should give it a shot.

Wild child editor lim Staskauskas added some unorthodox finishing touches of his own while completing a new series of stylized, fast-paced spots for Oldsmobile. Leo Burnett

creatives Mark lary, Reese Thompson and Producer Jamie Mortellaro were delighted with the results and ordered lots of food from the biggest menu book in the city.

Fear of ridicule, and its cousin, fear of "mistakes," kill more good ideas than all the dumb bosses, constipated committees and uncertain clients in the world-combined.

So what if "they'll never buy it." Show it to them anyway.

For you, if not for them.

Take the chance once in a while to give things a real shake.

See what it feels like to be different just for the sake of being different.

Enjoy that sock with your coffee.

OPTIMUS

Staying put won't keep you safe from risk, anyway.

Creative Post Production

1 61

Most accidents happen at home.

East Grand Avenue, Chicago, Illinois 60611 312.321.0880 FAX 312.321.9765

For more information contact Paul Hayward . ©1994 Todd Lief

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BooK REVIEWS THE PERMANENCE AND CARE OF COLOR PHOTOGRAPHS

By Henry Wilhelm with Carol Brower Published by Preservation Publishing Company 719 State Street, P.O . Box 567 $69 .95 + $4.95 shipping Grinnell , Iowa 5011 2-0567

After two decades of _intense research, the author, Henry Wilhelm, has produced an important title for those involved in photography. Divided into twenty chapters, this immense book (over 700 pages) covers a wide scope of information pertinent to anyone who shoots, prints, stores or exhibits photography (its subtitle is Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures). It is proclaimed as the first and only book on the controversial subject of preserving our fading photographic heritage.

Although its emphasis is on color photography, this meticulously researched book also offers the most comprehensive set of recommendations ever published on the proper storage and display of black and white photographs.

Each chapter offers the reader a wealth of information, a significant portion of which has never before been available to the general public. Of particular interest are Chapter One-Traditional and Digital Color Prints, Color Negatives, and Color Slides: Which Products Last Longest? ; Chapter Five- Dark Fading and Yellowish Staining Of Color Prints, Transparencies, and Negatives; Chapter Seven-Monitoring The Long-Term Fading and Staining of Color Photographs in Museum and Archive Collections; Chapter Sixteen- The Storage Environment for Photographs: Relative Humidity, Temperature, Air Pollution, Dust, and the Prevention of Fungus; Chapter Eighteen-The Handling and Preservation of Color Slide Collections; and Chapter Twenty-Large Scale, Humidity-Controlled Cold Storage Facilities for the Permanent Preservation of Black and White and Color Films, Prints, and Motion Pictures.

Henry Wilhelm is recognized as a leading independent expert in the field of color permanence in photography. In 1980, he served as a volunteer technical advisor for film director Martin Scorsese's successful campaign to persuade the major film manufacturers to increase the stability of their color motion picture films. In 1981 , Wilhelm received a Guggenheim Fellowship for a long-term study of color print fading and staining. Contributing author Carol Brower is a well known authority in the presentation and conservation matting of fine art photographic prints.

By following their strategies of preservation, nearly all types of color photographs and motion pictures can be preserved essentially unchanged from their present condition for many hundreds , or perhaps , thousands of years. This book also includes examples of some of the world 's finest cold storage facilities and collecting institutions, such as NASA, The John F. Kennedy Library, The Smithsonian , The Library of Congress and Paramount Pictures, among 220

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others. The author 's view of Kodak's sometimes misleading information over the years is also well documented here.

At the same time he provides accurate, unbiased data on which films hold up best under a variety of conditions.

In Chapter Eight-Color Print Fading and the Professional Portrait and Wedding Photographer, Mr. Wilhelm writes ...

"If a print is made from a color negative on Kodak paper, it doesn 't matter whether it costs the customer one dollar or one thousand dollars: they are all printed on one of the low-cost, poor stability Ektacolor papers-products conceived and manufactured primarily for amateur snapshot photofinishing. In terms of image stability, there is no difference between a top-quality profes ional portrait printed on Ektacolor Portra II paper, the most expensive of which may cost many hundreds of dollars, and the 35-cent Kodalux (formerly Kodacolor) print made with Ektacolor Edge paper that one picks up at the local drugstore." (Mr. Wilhelm's solution for professional portrait and wedding photographers-choose a lab that uses Fujicolor SFA3 paper.)

The Permanence and Care of Color Photographs is the most significant photography book to be published in recent years. The book ties together the history of color photography, as well as the latest developments in digital imaging, providing a fascinating overview of where photography has been- and its projected future. As a resource book it is unsurpassed.

This book is not available in bookstores. If you ' re interested in purchasing a copy, you can order it direct by calling (800) 335-664 7 or fax (515) 236-0800.

PRICING PHOTOGRAPHY

By Michal Heron & Dav id Mactavi h Published by Allworth Press An imprint of All worth Communication s, Inc .

10 Eas t 23 rd Street New York, New York 10010

$19 .95

If you ' ve been looking to establish a fair and accurate

pricing structure for your photography but, like a lot of photographers, you've been 'winging it' for years, Pricing Photography is the book you ' ve been waiting for. The authors, Michal Heron and David Mactavish, with years of free-lance experience behind them , have written an intelligent and practical guide to help you determine exactly what your photography is worth and how to negotiate a fair and honest price for it. Their common sense style makes Pricing Photography very easy to follow. The delicate balance of negotiating , while at the same time educating your client, is covered quite well in Chapter 5Negotiating Stock Photography. I found this chapter particularly useful with lots of valuable insights. They write ... "The 'it's just sitting in the file so why shouldn 't I

BOOK REVIEWS

sell it' premise is dead wrong. That attitude always communicates a subtle message to the client, that each time you'll accept a little less because 'it's better than no money'. Clients will begin to force you down to zero.

Remember the farmer who thought he was being so canny when he trained his horse to eat a little less each day? He had just about succeeded in getting the poor animal down to nothing when the durn critter died."

Pricing Photography is also filled with clear, easy-to-read charts pertaining to almost every aspect of advertising and editorial stock photography, such as: magazines, newspapers, billboards, packaging, posters, annual reports, calendars, etc. Heron and Mactavish have produced a helpful and well thought out pricing guide for every stock photographer, as well as anyone doing business in stock photography. Art directors and designers would do well to share this valuable resource with their creative teams.

-Scott Teaford

will find out that "the Buddhists saw the bat as a mark of the ignorant, distracted mind, but to the Chinese it represented long life and happiness." Or that the thumbs-up hand gesture "originally stood for virility." To some, black agate stands for courage, prosperity and vigor, sapphires symbolize truth, contemplation and chastity and the ruby "was considered ... to be a cure for mental disorders."

Fontana prefaces his directory with chapters on Jungian theories (Carl Jung's Man and His Symbols also being essential to a designer's education), on powerful symbols that seem to cross cultural boundaries (e.g., male and female) and on the uses of symbols in art, meditation and dream analysis. Many of the illustrations are reproduced from paintings, engravings and early manuscripts. The Secret Language of Symbols is written more from a psychoanalytical/anthropological viewpoint than a linguistic/semiotic one, and although it is not a rigorously academic analysis of this subject, this book is nonetheless handsome, fun and enlightening.

-Angelynn Grant

BRIEFLY NOTED:

How TO PHOTOGRAPH PAINTINGS, by Nat Bukar (Published by ECB Publishing, P.O. Box 630-224, Little Neck, New York 11363, $9.95 plus $3.50 shipping). Easyto-follow. Detailed. These are the words that best describe How To Photograph Paintings. This unique 70-page booklet is written for the painter or illustrator who has always wanted to document their work photographically, but hasn't because they lack the necessary tools and knowledge. The author has many years of experience refining the deceptively simple process of photographing artwork, covering everything from choosing the right film stock to a variety of different lighting techniques. Mr. Bukar's no-nonsense style of writing and illustrating makes How To Photograph Paintings a must for any artist who seeks the basic facts of how to photograph their artwork properly.

-S. T.

THE SECRET LANGUAGE OF SYMBOLS: A VISUAL KEY TO SYMBOLS AND THEIR MEANINGS, by David Fontana

(Published by Chronicle Books, 275 Fifth Street, San Francisco, California 94103, $17 .95). As Paul Rand wrote in Paul Rand: A Designer's Art, "It is in symbolic, visual terms that the designer ultimately realizes his perceptions and experiences; and it is in a world of symbols that man lives." By enlarging one's visual vocabulary through a knowledge of traditional symbols, a designer enhances her/his ability to create visual metaphors. Psychologist David Fontana has assembled more than 300 illustrations into a "visual directory" of symbols and their meanings culled from many mythologies, religions and symbols systems (e.g., alchemy and I Ching). Here you 222

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GETTING IT PRINTED, by Mark Beach (Published by North Light Books, 1507 Dana Avenue, Cincinnati, Ohio 45207, $29.95). As I remember it, Ken Russon produced the original version of this title some twenty years ago.

The need for an extensive book of clear descriptions of art preparation, prepress work and printing methods and machines has been proven and Mark Beach brings us a 1990s update to fit today's technology.

I greeted it with great applause. Printers and prepress department folk gossip about art-school-trained designers as an "airy breed" who don't have a clue about how a job actually gets printed.

Mark Beach writes like a poet about the most practical and mechanical of things. "The printing engine is driven by artwork. Once six tons of steel are in motion, things don't change direction easily." He speaks the language of the printing trades craftsman and his definitions are made up of words used by the printing industry's professionals.

Of added value is the glossary of printing words and terms that ends the book.

FUNDAMENTALS OF SUCCESSFUL NEWSLETTERS, by Thomas H. Bivins (Published by NTC Publishing Group, P.O. Box 554, Skokie, Illinois 60076, $39.95). You too can be a desktop publisher of newsletters. Fundamentals tells you the mechanics and some of the simpler attitudes about type, grids, clip art and such. It's not about journalism, or how to make your newsletter editorially interesting. Editors, writers and designers need not worry.

-Byron Ferris

Introducing Power MacintoshNfrom Apple. It's incredibly fast. And it's incredibly flexible. So you can run your existing Macintoshesystem-based software. Run most MS-DOS and Windows software Do your own retouching. Do your own imposition. Do your own seps. Th.ke on more jobs. Probably make more money. ,_ And stomp your competitors into the cold, hard ground. For the name of your nearest authorized Apple reseller, callS00-732-3131, ext. 800.

Apple

Power Macintosh is here. What are you waiting for?

Performona claims based on comparison fiJ a Mach•IIJsh {Juodra' 950. 'Runs standartl-nwde Wiruiou~ applications usi"'! ScjiWiruJou~· from In.slgnia Soluliorts In~ Deperrdi"'! on the Power Macintosh nwdel y>u buy, y>u may need fiJ purchase SoftWir~ separately. ©1994 A{JfJie Computer, I~ Ali rigbls reserwJ. Apple, the A{Jple logo, Macinlosh and Macintosh {Juadra are registered trademorlts of Apple Computer, Inc. Power Macintosh ir a trademorfl of A{Jple Computer, In~ Adobe PbokJshop is a trademoril of Adobe Systetns lncorporaled and may be registered In certain jurirdicliorLS. Aldus FreeHand and Page.llailer are registered trademorils ofAldus Corporation. Windaws is a trademoril ofMicrosoft Corporolion, and SojiWiruiou~ ira trademorfl ofMicrosoft Corporolion used under lireLSe.

MATERIALS The VISCOMM show, held at San Francisco's Moscone Center, June 2-4, provided a wealth of products and literature for photographers. Here's a sampling of items selected as being of interest to CA readers: CAMERA COVERS

Zing Designs has come up with a nifty way to protect cameras. Camera covers are usually bulky and inefficient; by the time you struggle to open the case and move it out of the way, you ' ll lose that grab shot. I don't know any pros who use the darn things anyway. But Zing's covers are hip enough that the Design Museum of London has added their SLR Cover to their collection of outstanding designs and /D's Annual Review honored the Zing with a gold award in 1992. Manufactured from water-resistant neoprene-the same strong, flexible material used to make wet suits-the covers are colorful and well crafted.

Sections are bonded with waterproof adhesive, then seams are stitched and stress points are double stitched. All covers come with a removable 5" leash. They come in sizes to fit standard SLR cameras with lenses up to 4" long; for .cameras with a zoom or telephoto lens; the Pro model designed for pros using bottom-mounted motor drives or winders; Pro Zoom and in the Harness Cover style, with

"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 t o work for School for Art Direction, Copywriting, Photography, Design & lllustratio 1.800.255 .3169 125 Bennett St., NW, Atlanta, Ga 30309 C 1991 Juon Peterson . Paula Raymond-AD, Scott Wild, Matt Peterson-CW

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an additional waist strap to provide a stable four-point harness to prevent your camera from bouncing while hiking or biking; they also have a cover for video cameras. The heaviest cover, the Pro Zoom, weighs in at only 6.5 oz.

Some models are reversible . If you want to protect your equipment in a colorful, dare I say "zingy" fashion , contact Zing Designs, 351 9th Street, Suite 202, San Francisco, California 94103 , (800) 359-9119, fax (415) 626-9455.

P HOTO GEAR

Photoflex offers a range of professional photo gear including camera bag systems named for outdoor photographer and mountain climber extraordinare Galen Rowell.

Designed by Hans Wain of Photoflex, the bags are rigorously tested in the field by the globe-trotting Rowell.

Other products of interest include Photoflex 's Litediscs, handy little folding reflectors which fit into a zippered nylon pouch and are useful for reflecting light onto a subject when outdoors or away from more conventional reflectors. I was so impressed that I bought one for myself; it's faced on one side with silver, on the other with gold, for warmer light reflectance (it lists for $19.95 ). There are also grown-up versions called Litepanels, which come with holders. To contact Photoflex, call (800) 486-2674, fax (408) 476-2715 , or write them at 541 Capitola Road, Suite G, Santa Cruz, California 95062.

CARDS AND PHOTO ALBUMS

Art'z'card Greeting Cards are elegantly designed tri-fold cards, with debossed square, oval or rectangular windows.

Made from archival materials , they are fashioned with adhesive backing to allow easy assembly. The cards come in Parchment White , Forest Green , Mustard Yellow, Chutney Red, Wildflower Blue and Medium Gray ; depending on color choice, they come in two sizes: 5" x 7" and SW' x 8" and include an envelope and insert. The cards would make great leave-behinds or self-promo pieces .

Price per card is $1.25 if ordering up to 50, with incremental price breaks for larger orders. The company also has photo albums and photo journals which frame twenty

CYNTHIA COHEN, DIRECTOR OF ART BUYING, DEUTSCH, INC.

"The Workbook is my designated driver on the road to success."

MATERIALS A photographiC g;al l ny

a

.stlntt

photographs. The Photo Journal includes an additional ten journal pages, alternating with photo pages. The spiral bound albums combine a traditional hand-marbled cover with acid-free album pages with debossed rectangular window openings, ideal for 4" x 6" photographs. Albums and journals are available in Iridescent Silver and Swirls of Coral , with soft white pages; or Desert Shades and Subtle Spruce, which have Forest Green pages. Price per album is $12 for 8-24; $11 for 32-56 and $10 for 64 albums or over. I picked up a couple as gifts for photo friends; they offer an attractive alternative to more conventional mini-portfolios. To order, call or write Art ' z'cards, A Division of HICO Products Inc., P.O. Box 127, Barrington , Illinois 60011; phone (708) 381-5094, or fax (708) 381-1513.

-Anne Telford

LITERATURE FOR YOUR FILES A request on yo ur letterhead to the followin g companies will bring you the literature described .. .free unless otherwise noted. Wh eneve r possible, f ax numbers ha ve been included f or convenience.

Calumet Photographic, The Essentials 94 .. .is a cleanly designed catalog chockablock with film, paper and chemistry ; darkroom supplies and specialty chemistry; storage and presentation materials; shooting supplies; studio and lighting supplies and a resource library. If you're like me, you enjoy reading all that tiny print about products that you dream will make your shooting easier and your studio more efficient. But the Calumet Professional Imaging catalog is the one that sets me to dreamingthey are full-line dealers for Nikon and also handle Hassleblad, Mamiya, Bronica and Leica, including the celebrated Leica M6 (a girl can always dream ... ), in addition to a wide variety of accessories. The catalog is $5, which is refundable with your first order. To request a copy, call Calumet at (800) 225-8638.

Meter™ .. .is a labor of love of the New York agency, Weiss, Whitten, Stagliano. It's also an elegant catalog of fine art photography from some of the best known commercial photographers, as well as young artists. Editorin-chief Marty Weiss's stated goal is: "To make it easy to enjoy and collect contemporary photography." The direct mail photography gallery features fine art prints in limited editions , all made to the highest archival standards and signed and numbered by the artist. The first issue features an eclectic mix from the witty messages of Geof Kern to the dreamscape images of Andrea Gentl (featured on this page). If you can't seem to make it to art galleries and you like photography, Meter offers an opportunity to browse at leisure without sales pressure. Prints range in price from $250 to $1,850 and in size from 8" x 10" to 20" x 24".

Most are toned silver prints , but some are palladium or 226

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T R M Iris prints, and a few are toned contact prints. There are also four handsome posters available from $25 to $100, depending on whether they are signed or not. Framing in wood or metal by Bark Frameworks, whose clients include Jasper Johns and the International Center of Photography, and who framed the recent Avedon exhibition at the Whitney Museum, is also available. Design and art direction of the attractive catalog is by Danielle Flagg. A full refund or exchange is available, "if for any reason you are not happy with your order" - somehow I don't think that will be a problem. Copies of Meter are available for $3 , for more information or to place an order, call (800) 776-0080.

Westlight's Questock™ Image Search System .. .is an interactive digital language that can quickly isolate a photograph with specific criteria. It's the first time a stock photo agency has used Kodak 's exclusive five-resolution Photo CD technology in a digital catalog or prepress application.

Westlight was nominated by the Eastman Kodak Company to the 1994 Computerworld Smithsonian Awards in recognition of its development of the Questock™ language.

Using Kodak's Photo CD Catalog format , the Questock™ Image Search System is a visual Thesaurus containing thousands of images , what Westlight calls "the very top shelf" of its 2.5 million image collection. From Power Concepts to Major Subject Ideas including Backgrounds, People, People Doing (having fun , hugging, resting, etc.),

A single, simple idea unfolds . . .

Into three innovative paper systems.

The ldentityTM Color System. The ProterraT"' Color System. The Graphics Series.

Three systems, under one name: The Hopper® Collection.

Each system distinct, yet integrated across one rich color palette.

We call it ColorActive.TM You'll call it simply beautiful.

Combine color, texture and finish to find creative answers to your design challenges. Colors that work, that complement, that enrich your creativity.

In infinite directions.

One Idea. Three Systems. Infinite Possibilities.

Fe..®

Hopper Papers Georgia-RK:ific

•

P.O. Box 105237 Atlanta, Georgia 30348 For more information or paper samples calll-800-635-6672 Printed on Kiana®Vellum, Natural , 80 lb. Text

MATERIALS

airmail shipping. photo-eye also publishes a free quarterly illustrated booklist, containing the newest photography books of the season. For further information contact Rixon Reed or Wendy Lewis at (505) 988-5152, or write photo-eye, 376 Garcia Street, Dept. G, Santa Fe, New Mexico 87501.

The National Geographic Society .. . has begun offering a select portion of its vast photographic archives and art collection for other publishing purposes. Access to the collection has previously been limited to in-house use and to researchers in the academic community. The National Geographic Image Sales Group has been established to make this Society material available for outside editorial, commercial and advertising uses. The Image Sales Group can be reached at (202) 857-7537, or fax (202) 429-5776.

Sports/Leisure, Textures and Versatile Files (maps, silhouettes, special effects, still lives, etc.). An 11" x 17" fourcolor glossy sheet shows a record 460 thumbnail images in startling clarity, with an Ideas-to-Image flow chart of the system. The Questock™ Image Search System is compatible with Macintosh and PCs using Windows 3.1; system requirements are a Macintosh computer with System software 6.0. 7 or higher, QuickTime version 1.5 or higher, 24-bit or 32-bit color video display, 8 MB of RAM or higher and a Photo CD compatible CD-ROM XA drive. A second disc operates in Kodak's Photo CD players, CD-I machines or computers. The two-disk set is $59.95, plus $5.95 postage and handling (California residents add 8.25%). To request a copy of Westlight's Photo Tool-Kit, showing the possibilities available from the acknowledged leader in digital image technology applied to stock photography, call (800) 622-2028, fax (310) 820-2687, or write Westlight, 2223 S. Carmelina Avenue, Los Angeles, California 90064. photo-eye books & prints .. . celebrates its 15th anniversary of book selling with a 224-page, black-and-white catalog touting their 3,300 plus titles including their complete in-print inventory of monographs, exhibition catalogs, visual anthologies, essays, histories, periodicals, resources, technical and foreign books. They began as a mail order business in 1979 in Austin, Texas, moving to Santa Fe, New Mexico, in 1991 where the business expanded to include a retail store and gallery in addition to their international mail order business. photo-eye offers a wide range of photographic monographs from Mikkel Aaland's "County Fair Portraits" to the "Retrospecktive Fotografie" of Dutch constructivist photographer Piet Zwart-and that's just one section. Anyone engaged in serious research would find the Resources section extremely useful. The catalog co ts $7 .50, or $13 to send it abroad, including

Corporate CD-1 .. .is a CD-ROM, designed to assist the graphic designer working on corporate projects. It contains approximately 150 photographs of recent annual report assignments by photographer John Olson. The disc comes with a software package that allows easy retrieval of images by use of a descriptive word, such as "pharma-

"Oursl1o1J grows becat1se our creative side £ltld our busit1ess side work togetl1er.

Tl1£tt's wl1y we tise Clie11ts& Profit~.''

Successful ad agencies and desCll studios get that way when evecyone works together. Over 800 of today's smartest shops do it with Clients &Profits~ the best-selling job trac:kie, costi&- and ac:c:ollltq software for the Mac:ittosh. It'sdesigned only for creative businesses, so it works just like you do.

Call 800 212-4488 today for a free glided tour and complete information.

Or fax (619) 945-2365.

WORKING COMPUTER 7be Tri• 11gle Building 4755 Oceanside Blvd, Suite 200 Oceanside, CA 92056 (619) 945-4334

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Discount Prices for Additional Copies of the 1994 Photography Annual IF YOU WOULD LIKE COPIES FOR OTHERS IN YOUR FIRM, OR GIFTS FOR CLIENTS, FRIENDS OR MEMBERS OF YOUR FAMILY THAT AREN'T QUITE SURE WHAT YOU DO, HERE'S A PRICE SCHEDULE FOR ADDITIONAL ANNUALS.

THESE PRICES ONLY APPLY TO THE 1994 PHOTOGRAPHY ANNUAL.

Cover Price

$14Each

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

ceutical." Mr. Olson offers these images free to use as comps "during what .. .is the most crucial time for a design firm, the new business presentation. " Mr. Olson says "the disc is available, while they la t, free of charge to designers" who call him at (800) 467-7634, or fax (800) 551-9116 Sinar Bron's 1994 catalog .. .includes lower prices on dozens of major items, including cameras, power packs, stands and key accessories. A number of new items have been introduced, including the Primo 4 power pack, a redesigned Foba Combitube System and an expanded line of digital imaging accessories. The catalog showcases the large format fashion photography of Donna Marie Solensky. To receive a copy, phone (800) 456-0203, fax (908) 754-5807, or write Sinar Bron, Inc., 17 Progress Street, Edison, New Jersey 08820.

Photo news flashes .. . Impact Images, the recent merger of Photo 20 - 20 and Viewfinder stock agencies, has changed its name back to Photo 20 - 20. Principals Ted Streshinsky and Kimberly Parsons feel that name best reflects the future interests of their company, and they promise no more name changing-except for marketing director Laura Russo who recently married and changed her surname to Kelly. Photo 20 - 20 is located at 435 Brannan Street, Suite 203, San Francisco, California 94107, phone (415) 543-8983, fax (415) 543-2199.

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The Seattle-based agency .. . AllStock Inc., specializing in wildlife, outdoor adventure and travel photography has been acquired by Tony Stone Images, the international stock photography agency. This is the largest acquisition in the company's history. Tony Stone Images gains control of AllStock's 1.5 million plu images which will be showcased in new catalogs, including an upcoming nature and wildlife catalog featuring the images of renowned photographers Art Wolfe, David Muench, Gary Braasch and others; CD-ROM disks, and online image delivery service through Picture Network International. The 1,150 photographers aligned with AllStock will receive wider international distribution through Tony Stone' 20 wholly owned companies, licensees and agents worldwide. In conjunction with the acquisition, Tony Stone Images has forged a relationship with Image Finders Photo Agency Inc., AllStock's Canadian agent. In the newly signed agreement, Image Finders will become an exclusive agent for Tony Stone Images in western Canada. The agency began trading under the name Tony Stone Images/Vancouver this May. For information or catalogs, phone (312) 6447880, or fax (312) 644-8851.

-A.T.

DOMESTIC ORDERS : SIX OR MORE ISSUES WILL BE SHIPPED UNITED PARCEL SERVICE.

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CLUBS, CONFERENCES, SEMINARS ASMP/NEW MEXICO In honor of the 50th anniversary of the American Society of Media Photographers, the New Mexico Chapter of the ASMP and the Institute of American Indian Arts Museum (IAIA) presents "Traditions of Looking," a photographic exhibition in collaboration with the Native Indian Inuit Photographers Association (NIIPA) and the Institute of American Indian Arts . The exhibition is scheduled for September 16-November 6 at the IAIA Museum in Santa Fe. An auction of the exhibited prints will also occur on the opening evening, September 16, to benefit the Photography Program at the Institute of American Indian Arts .

Included will be the work of Eugene Smith and other renowned ASMP photographers. ASMP, P. O. Box 92196, Albuquerque, New Mexico 87199, phone (505) 988-3179.

AlGA The American Institute of Graphic Arts holds its first biennial business conference September 24-25 at the Macklowe Conference Center in midtown Manhattan at 145 W. 44th Street. The two-day event focuses on defining pertinent issues, provoking new mindsets and offers effective strategies for the business of graphic design.

"Strategies for Change: Information, Analysis and Ideas on the Business of Design" will feature a multidisciplinary

PRICIHG PHOTOGRAPHY: The Complete Guide to Assignment and Stock Prices

by Michal Heron and David MacTavish This essential resource for photographers, art directors, and graphic designers explains how to price and negotiate both assignment photography and stock photography. Included are extensive and detailed pricing charts compiled by the authors. The book concludes with pricing guidance for photography buyers, who will also find this information indispensable.

"This is a great tool for the industry, loaded with valuable info!" -Nancy Brown, Photographer Order the book for $19.95. Add $3 for shipping and handling (NYS residents add sales tax) and send to: Allworth Press, 10 East 23rd St, New York, NY 10010.

Or phone toll free: (800) 247 6553

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group of speakers and facilitators. The program includes keynote and thematic sessions, roundtable discussions and case studies, and will be structured to stimulate dialogue and group interaction. For information on the program, events and registration, phone (212) 807-1990 or fax (212) 807-1799 or write AlGA, 164 Fifth Avenue, New York, New York 10010.

UCDA The University & College Designers Association's 24th annual design conference, "Breaking Barriers," is planned for October 8-11 on Kiawah Island, South Carolina.

Kiawah is a barrier island located 21 miles south of Charleston, the perfect setting in which to explore why and how designers design, the barriers to good design, the concept of sanctuary and how influences and education affect design . The conference features internationally known designers McRay Magleby, Jennifer Morla and Michael Vanderbyl who will give presentations and serve on a panel discussion. General session speakers include Chip Kidd, book jacket design; Sherry King- Myres, Southern Methodist University Publications Office; Robert Schwarzbach, Multiple Media; and Julius Friedman, Hot and Now, Workshop Slide Show. The program has been specially arranged to take advantage of the setting with meetings in the mornings and evenings. Afternoons are free for optional educational tours of Kiawah Island, the Low Country, Charleston or discussion of the themes and topics of the conference. Participants will be housed in villas surrounding the East Beach Conference Center (one bedroom, two bedrooms, three bedrooms), various rates apply. Register by September 15th to receive the lowest membership discount rate of $395. For information, contact Tracy Fry, UCDA, 615.5 Roosevelt Road, Suite 2, Walkerton, Indiana 46574. Phone (219) 586-2988, fax (219) 5.86-3599.

INDIA

Design Odyssey 2010 is a three-day symposium to be held at the Industrial Design Centre, Indian Institute of Technology, Powai, Bombay, India, December 16-18. The sessions of the symposium will include: Role of Design in Future Society; New Tools and Technologies; Design Thinking and Design Theories. Fees for the seminar participants from abroad are $100 (U.S. Funds) and $50 (U.S. Funds) for students. Accommodations may be arranged.

For information, call (91) 22-578-4525 or fax (91) 22578-3500 or write to The Coordinator, Design Odyssey 2010, Industrial Design Centre, Indian Institute of Technology, Powai, Bombay 400 076, India.

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

INDEX TO PHOTOGRAPHERS

Bennett, Sue 22 Phone (602)774-2544 107 N. San Fra ncisco. Suite 3 Flagstaff. AZ 86001

A Afanador, Ruven 52, 81 Phone(212)741-5292 505 W. 23rd Street. #3 New York, NY 10011 Appelbaum, Marcy J. Phone(904)396-6218 P.O. Box 10083 Jacksonvi lle. FL 32247

140

Blankenship, Bob 136 Phone (404)872-9145 634 N. Highland Avenue Atlanta , GA 30306

Arciero, Anthony 100 Phone(312)772-7297 1643 N. Milwaukee. #2 Chicago, IL 60647

Borris, Dan 49 Phone (212)989-6790 40 W. 17th Street New York. NY 10011

Aresu, Paul 32 Phone(212)334-9494 Aresu/Goldring Studio 568 Broadway, #608 New York, NY 10012

Brandt, David Allan 16 Phone (213)469-1399 1015 Cahuenga Boulevard.

Studio 14C Hollywood. CA 90038

Arrabito, James 87 Phone(206)339-3686 2623 Grand Avenue Everett. WA 98201

Broden, Fredrik 91. 136 Phone (214)720-9019 2912 Maple Avenue Dallas. TX 75201

Ashukian, Susan 118 Phone(416)778-7322 276 Carlaw Avenue. #301 Toronto. Ontario M4M 3L 1 Canada Atkinson, Mark Edward 36 Phone (804) 622-8853 1611 -D Colley Avenue Norfolk. VA 23517 Atkinson, Robert David Phone (718)836-9335 359 Ovington Avenue Brooklyn, NY 11209

131

B Barrow, Scott 123 Phone (914)424-4441 Hurst Pierpont Road Garrison. NY 10524 Belpaire, Christian 70 Phone(416) 696-2630 205 Woodville Avenue Toronto, Ontario M4J 2R4 Canada

234

Bieber, Tim 114 Phone (312)463-1921 c/o Mr. Big Productions. Inc. 3312 W. Belle Plaine Chicago, IL 60618

P H 0 T 0 G R A P H Y

Cooper, Chip 39 Phone (205) 348-8332 P.O. Box 870144 G-14 Rose Administration Bui lding The University of Alabama Tusca loosa. AL 35487

F

Crowe, Pat 55 Phone (302) 239-5259 4942 S. Raintree Court Wilmington. DE 19808

Fawcett, Sarah 146 Phone(415)824-1565 178 Chattanooga Street San Franc isco. CA 94114

Cutler, Craig 7. 109 Phone (212)473-2892 628-30 Broadway, #403 New York, NY 10012

Fehling, Ron 29 Phone(416) 535-1 955 Westside Studio 33 Jefferson Avenue Toronto, Ontario M6K 1Y3 Canada

D Davidson, Cameron 79 Phone(202)328-3344 1403-B N. Van Darn Street Alexandria. VA 22304

Brooks, Ernest H. II 66 Phone (805)966-3888 Brooks Institute of Photography 801 Alston Road Santa Barbara. CA 93108 Burkey, J. W. 126 Phone (214)746-6336 1526 Edison Street Dallas. TX 75207

De Souza, Daniel 107, 123 Phone (415)777-3273 185 Clara Street. #202 San Francisco. CA 94107

Canavino, Kay 125 Phone (617) 625-1115 1 Fitchburg Street Somerville. MA 02143 Clement, Michele 88 Phone (415)695-0100 879 Florida Street San Francisco. CA 94110 Clifford, Mark 114 Phone (213)222-7400 600 Moulton Avenue. #1 02-D Los Angeles. CA 90031

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1 9 9 4

Erickson, Jim 139, 143 Phone (919) 833-9955 117 S. West Street Raleigh , NC 27603

Corbett, Jay 120 Phone (212)366-1166 352 W. 15th Street, #204 New York, NY 10011

Dazeley, Peter 131 Phone (44) 71-736-3171 The Studios. 5 Heathmans Road Parsons Green. Fulham London SW6 4TJ England

c

E

Dojc, Yuri 97 Phone(416)366-8081 74 Bathurst Street Toronto, Ontario M5V 2P5 Canada Dugan,Joanne 26 Phone (212) 964-6404 8 Thomas Street New York, NY 10007 Dyer, John 76 Phone (210) 223-1891 107 Blue Star San Antonio. TX 78204

Ferguson, Scott 125 Phone (314) 241-3811 Ferguson & Katzman Photography 710 N. Tucker Boulevard. #512 St. Louis. MO 631 01 Forelli, Chip 126 Phone(212) 564-1835 529 W. 42nd Street New York. NY 10036 Freeman, Don 51 Phone(212) 941-6727 457 Broome Street New York. NY 10013

G Gajdel, Edward 87 Phone (416) 535-4773 198 Crawford Street Toronto, Ontario M6J 2V6 Canada Garofalo, John Cleveland Phone (703)368-3861 107 43 Lake Forest Drive Manassas. VA 22111 Gaz, David 30 Phone (33) 1-48-06-3821 14-16 Passage Th i en~ 75011 Paris. France c/o Arlene Soodak Phone (301) 983-2343 11135 Korman Drive Potomac. MD 20854

132

CA' s 1993 Advertising Annual television commercial winners are now available on videotape. Eighty outstanding commercials (from over 2,200 spots submitted) were selected by a distinguished national panel of creative directors.

The videotape includes a complete listing of creative credits and is available on%" or VHS format for $215. To order your copy of the 1993 award-winning commercials on videotape, please fill out the information below and send it to Communication Arts. Shipments will begin December 1, 1993.

Complete your library of great spots with CA's 1992 awardwinning TV commercials, just reduced to $145. Order below.

COMMUNICATION ARTS [P.O. BOX 10300, PALO ALTO, CALIFORNIA 94303] 0

PLEASE SE D ME CA ' S 1993 AWARD -WI NI G TV COMMERCIALS FOR $215

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PLEASE SEND ME CA ' S 1992 AWARD-WIN lNG TV COMMERCIALS FOR $145

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INDEX TO P HOTOGRAPHERS

Glentzer, Don 114 Phone (713) 529-9686 3814 S. Shepherd Houston. TX 77098

I lnbar, Limor 57 Phone (212) 529-4219 232 E. 12th Street. Apt. 6B New York. NY 10003

Guip, Amy 49 Phone(212)674-8166 352 Bowery, #2 New York. NY 10012

looss, Walter Jr. 44 Phone(718)601-3232 4730 Independence Avenue Riverdale. NY 10471

H

J

Harbron, Patrick 76 Phone (212) 967-2111 666 Greenwich Street. #746 New York. NY 10014

Johnson, Curtis 120 Phone (612)332-5050 c/o Jim Arndt Photography 400 1st Avenue N.. #510 Minneapolis, MN 55401

Hart, Trevor Ray 10 Phone (44) 81-674-2242 c/o Alan Wicks 79 Leonard Street London. EC2 England

K

Heimo 118 Phone (415) 621-8260 530 Hampshire. Suite 406 San Francisco. CA 94110 Heumann, Andreas 7. 29 Phone (44)71-622-3979 35 Larkhall Rise London SW4 6HU England

Kashi, Ed 82 , 132 Phone(415)641-4636 824 Florida Street San Francisco. CA 94110

Higgins, Dale 135 Phone(415)441-1214 1835 Clay Street. #202 San Francisco. CA 94109

Kasmauski, Karen 62 Phone (703)241-7520 2907 Linden Lane Falls Church. VA 22042

Hohmuth-Lemonick, Eileen 92 Phone(609)924-8346 249 Cherry Hill Road Princeton. NJ 08540

Katzenstein, David 13 Phone (218) 529-9460 23 E. 4th Street. 4th Floor New York, NY 10003

Huet, John 88 Phone (617)439-9393 27 Drydock Avenue Boston. MA 02210

Katzman, Mark 125 Phone (314) 241 -3811 Ferguson & Katzman Photography 710 N. Tucker Boulevard. #512 St. Louis. MO 63101

Humphreys, David 139 Phone(504)924-8075 4624 Hyacinth Avenue Baton Rouge, LA 70808 Hush, Gary 19 Phone(503)222-4786 725 N.W. Flanders. #206 Portland, OR 97209

236

Kander, Nadav 14. 21. 30 Phone (44) 71-359-5207 1-7 Britannia Row London N1 SOH England

P H 0 T 0 G R A P H Y

Kendrick, Robb 59, 103 Phone (512)454-7649 703 E. 43rd Street Austin. TX 78751 Kern, Geof 62 Phone (214) 630-0856 1355 Conant Street Dallas. TX 75207 A N N U A L

l 9 9 4

Kernan, Sean 117 Phone (203) 481-0213 28 School Street Stony Creek. CT 06405 Kleinman, Kathryn 42 Phone (415)456-8544 41 Tamalpais Avenue San Anselmo. CA 94960 Kohanim, Parish 114 Phone(404)892-0099 1130 W. Peachtree Street Atlanta. GA 30309 Kratochvil, Antonin 52. 59, 81 Phone (212) 947-1589 448 W. 37th Street. #69 New York. NY 10013 Kressley, Michael 88, 97 Phone(617) 522-5132 67 Brookside Avenue Boston. MA 02130 Krist, Bob 22. 79 Phone (201)445-3259 333 S. Irving Street Ridgewood. NJ 07450 Krogh, Jennifer 132 Phone (212)982-4328 522 E. 6th Street. #3 New York. NY 10009

Lanting, Frans 32 Phone(408) 685-1 911 c/o Minden Pictures 24 Seascape Vil lage Aptos. CA 95003 Lawton, Eric 41 Phone (310)453-8784 2001 Wilshire Boulevard Penthouse Suite Santa Monica. CA 90403 Lloyd, R. lan 68 Phone (65) 2279600 5 Kreta Ayer Road Singapore 0208 Lowry, Miles 24 Phone(312)666-0882 222 S. Morgan. #4A Chicago, IL 60607 Ludwig, Gerd 57 Phone (213)882-6999 3472 Oak Glen Drive Los Angeles. CA 90068 and 1145 17th Street N.W. Washington. D.C. 20036 Ludwigson, HAkan 62 Phone(46)31-830438 Sofierogatan 3 412 51 Gtiteborg Sweden

Kuehn, Karen 57. 76 Phone(212)477-1251 300 E. 4th Street. #1 D New York. NY 10009

M

Kuhn, Chuck 19 Phone (206) 842-1996 11050 N.E. Seaborn Road Bainbridge Island. WA 98110

Mahurin, Matt 75 Phone (212) 691-5 11 5 666 Greenwich Street New York. NY 10014

L

Makki, Sari 104 Phone(818) 240-5109 1323 E. Broadway, #302 Glendale. CA 91205

Lacker, Pete 131 Phone(214)748-7488 1027 Dragon Street Dallas, TX 75207 Laita, Mark 135 Phone(310)836-1645 3815 Main Street Culver City, CA 90232

Malaterre, Dominique 123 Phone(514)844-0294 Tilt, Inc. 231 . St-Paul W. Street Montreal. Quebec H2Y 2A2 Canada Matuschka 59, 66 Phone(212)722-2131 150 E. 87th Street New York. NY 10128

Mayo, Scogin 64 Phone (214) 941-0663 413 N. Bishop Avenue Dallas, TX 75208 Mayor, Randy 97 Phone (205) 933-2818 2007 15th Avenue S. Birmingham, AL 35205 McArthur, Pete 7 Phone (31 0) 815-1951 8741 W. Washington Boulevard Suite A Culver City, CA 90232 McDonald, Michele 70 Phone (617) 646-6926 33 Fountain Road Arlington, MA 02174 Mcleod, William Mercer 52 Phone (415) 550-7576 225 Fair Oaks Street San Francisco, CA 9411 0 McNicol, Duncan 145 Phone(44)71-401-2599 2 Rushworth Studios 63 Webber Street London SE1 OQW England Meeks, Raymond 72, 128 Phone (617)484-7437 149 Oakley Road Belmont. MA 02178 Melford, Michael 75 Phone (914) 666-6244 Petersville Farm Mt. Kisco, NY 10549 Mencher, Eric 135 Phone (215) 854-2871 308 Pemberton Street Philadelphia , PA 19147 Mendelsohn, David 94 Phone (603) 659-2530 15 Tall Pines Road Durham, NH 03824 Mermelstein, Jeff 81 Phone (212)496-9427 172 W. 79th Street. #4C New York, NY 10024 Meyerson, Arthur 103 Phone (713) 529-9697 2710 Bissonnet Houston, TX 77005

Miller, Bob 21 Phone (415)495-1900 c/o Bobbi Wendt Parallel Universe Creative 152 Mississippi San Francisco, CA 94107 Morgan, Michael P. 98 Phone (714) 583-0399 23421 Red Robin Lane Lake Forest. CA 92630 Morgan, Scott 13 Phone (310)392-1863 711 Hampton Drive Venice, CA 90291 Morrison, Alistair 66 Phone (44) 71-608-3064 c/o Sue Allatt 30C Great Sutton Street London EC1 V ODX England Mummery, Richard 19 Phone (44) 71-278-7137 16 Rosebery Avenue London EC1 A 4TD England Muna, RJ 109, 120 Phone(415)468-8225 225 Industrial Street San Francisco, CA 94124 Mutino, Paul 125 Phone (203)255-6622 Van Gorder Studios 63 Unquowa Road Fairfield, CT 06430

N Nachtwey, James 76 Phone (212)966-9200 Magnum Photos 72 Spring Street. 12th Floor New York, NY 10012 Nagelmann, Antony 7 Phone (212)242-8001 29 E. 9th Street. PH 1 New York, NY 10003 .

Neleman, Hans 16, 118 Phone(212) 274-1000 Neleman Studio 77 Mercer Street New York, NY 10012

Nielsen, Ed 21, 112 Phone (415) 851-3132 303 Highland Terrace Woodside, CA 94062

Prida, Hector E. 143 Phone (818)799-6705 1125 Brent Avenue South Pasadena, CA 91030

Noto, Rino 81 Phone (416)465-8094 276 Carlaw Avenue, Suite 306 Toronto, Ontario M4M 3L 1 Canada

R

0 Oe, Teiichi 112 Phone (213) 224-8709 Oe/Ueda 618 Moulton Avenue, Studio E Los Angeles, CA 90031 Ordeiiana, Adrian 104 Phone(415)781-4533 942 Market Street. #508 San Francisco, CA 94102

p Page, Tim 61 Phone (44) 81-806-9803 Reportage Photos 28 Norcott Road London N16 7EL England Palu, Louie 97 Phone (416) 588-9337 34 Noble Street. Studio 201 Toronto, Ontario M6K 2C9 Canada Panneton, Andre 61 Phone (514) 523-3231 4406 Rue Brebeuf Montreal. Quebec H2J 3K9 Canada Payne, Steve 57 Phone (416)778-9504 58 Denison Avenue Toronto, Ontario M5T 2M8 Canada Price, Larry C. 46 Phone (817)923-2953 Contact Press Images 2021 Windsor Place Ft. Worth, TX 76110

Richards, Mark 51 Phone (415)389-8252 61 Sunnyside Avenue Mill Val ley, CA 94941 Robinson, James 91 Phone (212) 580-1793 155 Riverside Drive New York, NY 10024 Rothfeld, Steven 35 Phone (310)399-2460 1621 Abbot Kinney Boulevard Venice, CA 90291 Ryan, Tom 85 Phone(214)651-7085 2919 Canton Street Dallas, TX 75226

s Sacha, Bob 49 Phone(212) 749-4128 12 W. 96th Street New York, NY 10025 Salzano, James 107 Phone (212)242-4820 29 W. 15th Street New York, NY 10011 Sanders, Key 100 Phone (713) 621-8393 5637 Cedar Creek Houston, TX 77056 Schleipman, Russ 100 Phone (617) 292-0055 25 Union Park Boston, MA 02118 Seaward, Peter 21 Phone (44) 71-608-3249 49 Eagle Wharf Road London N1 7ED England

C 0 M M U N I C AT I 0 N

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237

INDEX TO P HOTOGRAPHERS

Seliger, Mark 49 Phone (212)941-6548 96A Grand Street New York, NY 10013

Smith, Rodney 44, 68 Phone (914) 359-3814 P.O. Box 49 Snedens Landing Palisades, NY 10964

Sheehan, Chris 10 Phone(612)874-1999 Parallel Productions 2010 1st Avenue S. Minneapolis, MN 55404

Smith, Sean M. 32 Phone (718) 855-4204 97 Second Place, Apt. 3 Brooklyn, NY 11231

Shinn, Chris 94 Phone(713) 526-2623 2411 Bartlett Houston, TX 77098

Sugarman, Lynn 110 Phone (214)748-1019 1019 Dragon Street Dallas. TX 75207

Silverman, Hal 109 Phone (315)434-9121 6515A Basile Rowe East Syracuse, NY 13057

T Tanaka, Jamie 136 Phone (415) 648-1122 34 Hi ll Street San Franc isco, CA 94110

Simhoni, George 112 Phone (416) 535-1955 Westside Studio 33 Jefferson Avenue Toronto , Ontario M6K 1Y3 Canada

Tilger, Stewart 123 Phone (206) 682-7818 71 Columbia, #206 Seattle. WA 98104

Sirota, Peggy 79 Phone(805)494-8877 138 Colt Lane Thousand Oaks. CA 91361

Topelmann, Lars 14, 29 Phone (503) 224-4556 1314 N.W. Irving Street. #214 Portland. OR 97209

Slater, Greg 145 Phone(404) 584-6397 141 Mangum Street S.W. Atlanta , GA 30313

u Ueda, Rick 112 Phone (213) 224-8709 Oe/Ueda 618 Moulton Avenue. Studio E Los Angeles. CA 90031

v van Overbeek, Will 32 Phone (512)454-1501 305 E. Skyview Austin. TX 78752 Venville, Malcolm 10 Phone (44) 71 -436-5191 23 Nassau Street London W1 N 7RF England von Renner, lvo 9 Phone (49) 40-491 -7096 Eppendorfer Weg 87 A 20259 Hamburg Germany

w Ward, Les 128 Phone (810) 350-8666 21477 Bridge Street, Suite C Southfield, Ml 48034

Wiens, Mark 104 Phone (816 ) 93 1-4447 3016 Cherry Kansas City, MO 64108 Wilby, Dan 106 Phone (212)929-8231 Wilby Productions 43 W. 24th Street. 11th Floor New York. NY 10010 Winter, Nita 75 Phone L415) 927-4300 9 Ridge Way Corte Madera. CA 94925 Winters, Dan 59 , 70 Phone (213) 957-5699 6383 Bryn Mawr Drive Los Angeles. CA 90068

Editor's Note Every effort has been made to ensure that credits accurately comply with information supp lied to us. If, for any reason , a misspel li ng, omission or other error has occured . notify us with in thirty days and we will be able to issue corrected awa rd certificates .

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

A Adler Boschetto Peebles & Partners 32 Advanced Computer Communications 21 The University of Alabama, Divis ion of Student Affairs 39 American Red Cross, Birmingham Chapter 97 Anderson, Larry 88 Anderson & Lembke 112 Arimo 9 Armaria, David 49, 52, 62 Armus. Jill 87

238

P H 0 T 0 G R A P H Y

A

Jim Arndt Photography 120 Arnold , David 62 Arrabito. James 87 Ashukian, Susan 118 Atkinson . Mark Edward 36 Audi 21 Aur Resources Inc. 97 Aversano, Vince 76

B BMP DDB Needham Worldwide. Ltd. 10 N U A L

I 9 9 4

Babcock. Al ice 87 Ba iley, Benjamin 91 Baldwin, David 19, 29 Scott Barrow, Inc. 123 Barry, Jennifer 42 Bartle Bogie Hegarty 21 Beadry, Lindsay 70 Beckwith Barrow. Ltd. 123 Beckwith, Karen 123 Beechwood Record Co. 10 Behind the Mask 97 Behnken. Wolfgang 59 Belmont Constructors. Inc. 94 Benson & Hedges 19

Benson, Pau la 10 Biagioni, Marcello 68 Bice Design 123 Bice. Luane 123 Bieber. Tim 11 4 Black, Bill 49, 52, 57, 59. 75. 76, 79, 81 Blankenship, Bob 136 Borders. Brett 14 Bornstein. Eric 97 Boston Globe 70 Brautigan, Dori s 66, 81 Breno, Bob 19 British Gas 10 Bruce, Duncan 29

Bryan. Robert 68 Buckl ey, Stuart 10

c CKM Press 39 Cabletron Systems 94 Camara, Lia 35 Carbone Smolan Associates 44 Carroll, Alan 79 Center! ine 19 Chan. Kinson 16 ChiaVDay/Toronto 29 Chi ldren's Television Workshop 75 Chitraker, Raju 92 Chron icle Books 32 Cima. Dan iele 9 Clark, John 112 Clarke, Michael 100 Michael Clarke Design 100 Clifford. Mark 114 Mark Clifford Photography 114 Cole & Weber 19. 29 Colle & McVoy, Inc. 10 Collett. Dickenson. Pearce &Partners 19 Collins. Tom 109 CollinsPubl ishers San Francisco 42.

44 Comex Communications Exponents 92 Conde Nast Traveler 62 Conde Nast Vanity Fa ir 7 Conner, AI 32 Context 100 Cousineau. Phil 41 Covenant House 100

Dimick. Dennis 59 Discover 49. 52. 62 Domer, Jennifer 44 Doubleday 44 Doyle Advertising and Design Group 88 Drace. Matthew 72. 128 Drummond, Stacy 13 Dunjko. Carmen 76 Dunn, Mary 52. 59, 66, 70. 79. 81.

87 DuPont 22

E Eakins, Warren 30 Eastman Kodak Company 97 Echave, John 82 Elle Quebec 61 Ell iott, Alice 97 Entertainment Weekly 52. 59. 66, 70, 79, 81 , 87 Evans and Associates 91 Evans. Tim 91

F Ferguson, Scott 125 Forelli, Chip 126 Form 10 Forster. Philip 19 Fox. Bert 46 Frankfurt Balkind Partners 91 Freedman. Dennis 68 French Vogue 51 Friend. David 61 Froel ich. Janet 66 Fucinato, Bob 109

D Davis, Da le 92 Dayton Hudson. Department Store Division 13 Daza i Advertising 21 De Souza. Daniel 107, 123 Dean, Chri s 112 Dearwater. Andy 103 Dearwater Design 103 deJori, Charlene 66 Design Thing 120 Devers. Wade 32 Dilorenzo. Lou 49. 52. 57, 59, 75, 76, 79, 81

G Gala Bingo Clubs 29 Gap Advertising 14. 21 Gap Boots USA 14. 21 Gap, Inc. 16 Gap Shoes 16 Garneau. Philippe 29 The Globe and Mail 57, 81 Goebel, Bob 100 Graves. Bill 59 Green Art 30

Gregory, Jeff 97 Griffin, David 57 Grossman, Michael

Kleinman. Kathryn 42 Kohanim. Parish 114 Parish Kohanim Studio 114 Kraft, Theresa 123 Kressley, Michael 97 Krogh, Jennifer 132 The Kuester Group 100 Kuester, Kevin 100

87

H HG Design 104 Halis. Monte 22 Halis/Russo 22 Hall, Steve 22 Hanna. Leslie 104 Haraldsson. Gudrun 57, 81 HarperSan Francisco. Division of HarperCollins Publisher 41 Heimo Inc. 118 Herman Hospital 103 Herman, Rebecca 75 Hilgars. Lisa 51 Hoffman York & Compton 7 Art Directors Club of Houston 114 Humphreys, David 139 Hurley, Brianne 88 Hyland, Marie 94 Hyland, Terry 94

I lmagic 21 , 112 Impact ltalia 9 Inside Sports 76

L LaGuard ia. Diana 62 Laita, Mark 135 Lamboy, Patrick 30 Lecourt. Ariane 30 Left Brain Creative 14 The Leith Agency 29 Lemon, Ann 26 Life 61 Liska & Associates 114 Liska. Steve 114 Live Communications, Ltd . 16 London Underground International 19, 29 Looking 112 Loucks Atelier 14 Loucks. Jay 114 Lussier. Paul 57. 75. 76

M

J Jacobson, Mark 59, 70, 79 Johnson. Curtis 120 Jorgensen, Conrad 88

K Katzman, Mark 125 Kavre Community Based Rehabilitation Project Team 92 Keiffer. Antoine 51 Helen Keller International 92 Kennedy, Tom 57, 59, 79 Kerbow, Michael 21 , 112 Kernan. Sean 117 Sean Kernan. Inc. 117

Malaterre, Dominique 123 Mangiacotti, Michele 88 Marr. Bill 62, 82 Martin, Jean-Marc 61 McMillan Associates 44 McMillan. Michael 44 McMillen. Nancy 64. 85 McQuiston, Rick 21 Meek, John 76 Men's Journal 128 Mendelsohn. David 94 Mi. Patty H. P. 7 Microsoft 7 Mikich. Tripp 51 Mintz & Hoke Inc. 19 Money, Shawn 104 Morgan. Michael P. 98 Morgan. Tim 21 Morin, Tom 100 Muna, RJ 109. 120 Mutino, Paul 125

C 0 M M U N I C AT I 0 N

A R T S

239

INDEX TO ART DIRECTORS, DESIGN FIRMS, AGENCIES AND CLIENTS

N The Nashville Network 32 National Geographic 57, 59, 62, 79, 82 Nepal Association for the Welfare of the Blind 92 Art Directors Club of the Netherlands 118 Netten, La rae 10 The New York Times Magazine 66, 81 Nichols. Harvey 7 Nighswander. Larry 79 Nike, Inc. 21 Nike International 30

Ocean Realm

66

p PC Magazine 32 Pagano, Schenck & Kay, Inc. 32 Parenting 51 Parkinson, Jon 107 Partners Ill 112 Paulini, Barb 7 Paws 14 Pel likaan, Hans 97 Penna. Detta 41 Pentagram 110 Perry, Harper & Perry 97 Pettit, Scott 24 Pfeiffer + Company 125 Phelps, Connie 79 Philadelphia Inquirer Magazine 46 Phillips, Ken 131

240

P H 0 T 0 G R A P H Y

Public Relations Society of America 104

Stern 59 Steven. Robert 76 Stevens. Terence 29 Stockman, Matthew 76 Stout. D. J 64. 85 Stratagem Marketing and Design 97 Studio 2 88 Sugarman. Lynn 11 0 Syrop, Stephanie 49, 52, 57 , 59, 75, 76, 79, 81

R RCA Records/Cowboy Junkies 32 Ramsey, Russell 21 Rathe, Joanne 70 Redman, Kevin 14, 16, 21 125

Richer, Paul 75 Rietta. Terry 32 Rigsby Design 94

Oe/Ueda 112 Ogilvy & Mather 22 Ogilvy & Mather Direct 7 Ooka, Diane 51 Operation Smile International 36 Otto Visual Arts 36 Outdoor & Travel Photography 55 Outlook Eyewear Co./Bausch & Lomb Inc. 98 Overseas Shipholding Group 103 Owen. William 36

Smolan. Leslie 44 Sony Music 13 Stephenson, Michele 57, 75, 76

Reifschneider. Kurt 14 Reprox Printing of St. Louis Resound 88 Rhea & Kaiser 24 Rhone-Poulen 24

0

w

Photo Life 68 Postcards 26 Pro Passport 97

T

Rigsby, Lana 94 Rolling Stone 49 Rumri ll Hoyt 22

Talese, Nan A. 44 Tenazas Design 32 Tenazas. Lucille 32 Texas Monthly 64, 85 Thermo Cardia 88 Thorburn, Bill 13

Russo, Rich 22 Ryan. Kathy 81

Thunen, Michaele 42 Thurman, Chuck 114

X Xavier, Jessica

98

Toronto Magazine 70 Toshiba of Canada Ltd. 29

Said, Carmel 19 Saks. Arnold 103 Arnold Saks Associates 103 San Francisco AIDS Foundation 104 Saturday Night 76 Saucony Athletic Shoes 88 Scher, Paula 110 Scharp, Cheryl 66 The Seagram Company Ltd . 91 Sesame Street Magazine 75 Shands, Joe 19, 29 Sheen. Mike 29 Hal Silverman Studio, Inc. 109 Simhoni, George 112 Simmons, Margaret Staats 49, 52, 57, 59, 75, 76, 79 Skarratt, Julie 66 Slater, Greg 145 Smith, Sean M. 32 SmithKi ine Beecham Animal Health 10

A N N U A L

Walden University 100 Walsh, Dick 61 Walsh. Renee 125 Weather Shield Manufacturing Company, Visions 2000 7 Welchman, Susan 57 Jeffery West Footwear 16 West Paul 10 Wetherby, Kara 118 Wieden & Kennedy 21 Wieden & Kennedy-Amsterdam Winkelman. Cra ig 55 Woelfei-Madison. Laura 39 Wolf. Hans 118 Wood Design 109 Wood, Tom 109

1 9 9 4

Travel &Leisure 22 Travel & Leisure. American Express Publishing 72 Travel Holiday 49, 52, 57, 59, 75, 76, 79, 81

u United Technologies

100

v Valcourt, Christiane 61 Van Der Paardt, Bas 118 Vendetti , Dan 7 Viecel i, John 44 Voluntary Hospitals of America Von Ulrich, Mark 120

30

Woodward. Fred 49 Workman Publ ish ing Company, Inc. 35 Worrell, Mary 57, 75

Stewart Tilger Photography 123 Tilt Inc. 123 Time 57, 75, 76

s

W, Fairchild Publications 68

91

Editor's Note

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