aug1997

~ommuni~ation Art~ phy

Communication Arts (ISSN 0010-3519) is published eight times a year: January/February March/April May/June July (Illustration Annual) August (Photography Annual) September/October (includes Interactive Design Annual CD-ROM) November (Design Annual) December (Advertising Annual)

by Coyne & Blanchard , Inc. 41 0 Sherman Avenue, Palo Alto, California 94306 Volume 39, Number 4 Copyright 1997

by Coyne & Blanchard, Inc. Periodicals postage paid at Palo Alto, CA and additional offices.

POSTMASTER : Send address changes to Commun ication Arts P.O. Box 10300 Palo Alto, California 94303

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Cover: © 1997 Mark La ita

Lommuni~ation Art~

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cate 40

Books

51

Editorial

89

For Sale

96

Institutional

109

Self-Promotion

117

Unpublished

s

August 1997 Volume 39, Number 4

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Editor and Designer Patrick Coyne Executive Editor Jean A. Coyne

176

Design Technology Wendy Richmond discusses the use of video as a learning tool.

178

Technology Reviews Pat Soberanis tests Macromedia's Flash 2.0.

182

Technology Resources Books, tools, resources and educational opportunities .

Managing Editor Anne Telford Associate Editor Sue Garibald i Associate Designer Mark Eastman Production Manager Scott Perry

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Production Ron Niewald Advertising and Circulation Director M ichael Krigel

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Legal Affairs An excerpt from Tad Crawford's Business and Legal Forms for Photographers, on the licensing of electronic rights .

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Freelance Success strategies for the '90s from Barbara Gordon .

210

Advertising Tom Monahan shares some random pleasant thoughts on the ad business.

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Consulting Editor and Designer Stephanie Steyer-Coyne

nts 160

Contributors

164

Letters to the Editor

214

Book Reviews

222

Materials, Available Literature

230

Clubs, Conferences, Seminars

232

Index and Addresses of Featured Photographers

236

Index of Art Directors, Design Firms, Agencies and Clients

243

Directory

Administrative Assistants Nancy Hagemann Nina Kitch ing Subscriptions Priscilla Brooks Kris Johnson Cam ille Lee kins Gloria Rosario Controller Ronald Auger, CPA Assistant to the Controller David Galuppo Traffic Manager Will Talton Founder Richard Coyne

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

Nothing shown may be reproduced in any form without obtaining the permission of the creators and any othe r person or company who may have copyright ownersh ip.

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Advertising Peter Leverman, photographer/art director UpCountry, ad agency/client Ad for a Canadian furniture and home accessories store.

Headline: Furniture to Grow Into.

2 Steve McCurry, photographer Thomas Hayo, art director Richard Yelland, writer J . Walter Thompson , ad agency Eastman Kodak Co., client Ad headline: In the heart of Holi, India's festival of color, our film 's interimage amplifiers help photographer Steve McCurry get extremely saturated colors out of his pictures.

3 Jim Erickson, photographer Bill Karow, art director Wes Hardison, digital artist Hal Riney & Pa rtners, ad agency Saturn Corp., client Ad headline: Opening soon , our newest location: Saturn of Yokohama .

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Advertising (series) Daniel Arsenault, photographer Lisa Hickey, art director Holland Mark Martin, ad agency Fidelity Investments, client Magazine ads. Headline for both: I must plan for my retirement.

2 Earl Kendall, photographer Cathy Challman, art director Option One, ad agency 3M Buf-Puf, client Ad headline: She has beautiful skin, she doesn't have beautiful skin, she has beautiful skin, she doesn't have beautiful skin.

3 Markku Lahdesmaki, photographer Unto Paltemaa, art director Donald Owen, model maker PHS/Helsinki, ad agency Helsinki :Media, client Ad headline: Always a new point of view.

4 Tom Feiler, photographer Paul Hodgson, art director/designer Spencer Francey Peters, design firm Random House, client Poster celebrating ten years of Canadian publishing.

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5 Patrick Nichols, photographer Patrick Duffy, art director/designer Attention Communication, design firm E.M.I. Records, client CD cover "Dream Warriors," on the subject of the clash of religion and thinking-Rastafarian and Catholicism .

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Advertising (series) Robert Tran, photographer Ron Cheung/Derek Chung, creative directors Bates Hong Kong, ad agency Carter-Wallace, Inc., Trojans, client Condom posters. Headline for both: Form Fitting.

2 David Allan Brandt, photographer Kinson Chan, art director Lowe & Partners/Live, ad agency D'Urban, client Part of Illusion campaign for Basic Gear line of men's clothing .

Headline: A matter of perspective, Basically, Basic Gear.

3 Maria Krajcirovic, photographer Lisa Howard, art director Cramer-Krasselt, ad agency Inland Steel, client Ad headline: Our suggestion on how to strengthen kickstands is saving lives at roadhouses across America .

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Advertising Harry De Zitter, photographer Jim Mountjoy, art director Loeffler Ketchum Mountjoy, ad agency North Carolina Travel & Tourism, client Ad headline: Colossal upheavals, landslides and brutal glaciers make for darn fine hiking trails .

2 (series) Guzman, photographer Anne De Maupeau/Nicolas Chauvin, art directors Frederic Temin/Guillaume De La Croix, writers CLM/88DO, ad agency Kookai, client

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Advertising Robert Mizono, photographer Woody Lowe, art director Rock & Wood, ad agency Jeffrey Grey Furniture, client Portrait of a furniture maker in Arcata , California, for a direct mail brochure.

2 (series) Jim Erickson, photographer Mark Arnold, art director TBWA Chiat/Day St. Louis, ad agency Ralston Purina, client Headline is the same for all three: No television contract? No color commentators? No luxury boxes? No cheerleaders? Just how long can this sport expect to survive?

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Advertising (series) Roger Le Moyne, photographer Tammy Thorn Anderson, art director Elizabeth Smith, creative group head/writer Elaine Brown, art buyer Sawyer Riley Compton, ad agency Elanco Animal Health, client Ad headlines: It's time the inevitable ravages of illness weren't so inevitable.; It's time we examined the real cost of antibiotics.; It's time the words "expected death loss" vanished from our vocabulary.; It's time that things designed to reduce suffering didn't cause more.; It's time that acceptable trim wasn't.

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Advertising (series) Jim Flynn, photographer Todd Riddle, art director David Lowe, writer Arnold Advertising, ad agency Stoddard's, client In-store posters for America's oldest fishing store.

2 Rodney Smith, photographer Mike Kirkland, art director Avtar Takel, writer Steven Landsberg, creative director Ogilvy & Mather, ad agency Jaguar Canada Inc., client Ad headline: His neighbor always said, "Someday, I will sell my '94 Jaguar." Until then, he waits patiently.

3 Nadav Kander, photographer Eric Holden, art director BDDP Group, ad agency Tag Heuer, client Ad for watchmaker. Headline: Success. It's a mind game.

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Advertising (series) Rosanne Olson, photographer Frank Clark, art director Kevin Schroer, designer Herring/Newman, ad agency Hewlett-Packard, client Direct mail booklet promoting a color copier printer.

2 Jamey Stillings, photographer Ron Randle, art director Chromagen Digital Imaging, digital composition Price/McNabb, Inc., ad agency Square D Co., client Ad headline: Whatever happened to "anything is possible?"

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Advertising Kjell Ekhorn, photographer/designer Polydor Records, client Record sleeve for Baby Grace.

2 (series) Nadav Kander, photographer Rich Silverstein/Todd Grant, art directors Goodby, Silverstein & Partners, ad agency Umbro International, client Ad headlines: In many parts of the world, a 64-bit version of the game does not exist.; If you knew America would never win the World Cup would you still play?; 99.99997% of the world plays without a contract.

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Advertising (series) Christoph Wilhelm, photographer Christoph Wilhelm/Jochen Hauser, art directors Michael Arnold/Jurgen Schmidt, designers In Medias Res, ad agency Hugendubel Bookstores, client Christmas promotion for a chain of bookstores in Germany.

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Advertising Jamie MacFadyen, photographer Jo Shoesmith, art director Clemenger Harvie, ad agency Mercy Hospital, client Poster headline: She needs a few pounds. We need a few dollars.

2 Lars Topelmann , photographer Tia Doar, art director Jim Haven, designer Borders, Perrin & Norrander, Inc., ad agency Morrow Snowboards, client Ad headline: Winter is just a few scabs away.

3 Greg Whitaker, photographer Frank Clark, art director Mike Tuttle/David Triola, digital artists Herring/Newman, ad agency Hewlett-Packard, client Ad headline: And VXI can reduce the cost of test .

4 Scott Lightner, photographer

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Eric Rutting/Scott Lightner, art directors Eric Ruffing , designer 13th Floor, design firm Bell Sports, client Image used for ads in the United States and Europe.

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Advertising (series) Edward Gajdel, photographer Deborah Prenger, art director Roche Macaulay & Partners, agency Harry Rosen, client Men's clothing store ads featuring prominent Canadian men.

2 Glen Wexler/DWP Archives (downed utility pole). photographers Glen Wexler Studio, photographic imaging Edward Welch, art director Fotouhi Alonso Agnew, ad agency Department of Water and Power, client Ad headline: 24 Hour Emergency Response .

3 Philip Porcella, photographer Lisa Linneman, art director Gearon & Hoffman, ad agency Omni Hotels, client Ad headline: Let yourself stray from the beaten path .

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Advertising Russ Schleipman, photographer Tina DiStefano, art director Scudder Stephens & Clark, in-house/ client Promotional ad for Indonesian investment fund .

2 Jim Erickson, photographer Bill Karow, art director Wes Hardison, digital artist Hal Riney & Partners, ad agency Saturn Corp., client Ad headline: It even saved our groceries.

3 Michael Lavine, photographer Ebon Heath, art director (((stereotype))), design firm Bad Boy Entertainment, client Notorious B.I .G. album packaging, "Life After Death. "

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Advertising Steve Eliasen, Image Studios, photographer Dave Hofmann, art director Cramer-Krasselt, ad agency Wausau Insurance Co., client Ad headline: On the road to recovery, there is a fast lane.

2 Robert Holland, photographer Paul Asao, art director Karen Kuhn, art buyer Carmichael Lynch, ad agency Polaris Watercraft, client Ad headline: May you never be lonely, boring or dry of rump.

3 (series) Hans Neleman, photographer Ginger Hood, art director Mullen Advertising, Inc., ad agency Memorial Health Care, client Reflex hammer, fetal stethoscope, hip replacement and hemostat. Headline for all the ads: Who cares for you.

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Advertising (series) Greg Slater, photographer Mike Mazza, art director Saatchi & Saatchi Advertising , ad agency Hewlett-Packard, client Ad headlines: Bang ! Bang ! Bang! Your website gets hit, but then what? How do you turn a visit into a sale? A query into a secure transaction . Curiosity into commerce .; Brick. Mortar. Brick. Walls go up. Entry is denied. Pathways are controlled. Just because the Internet gives you access to the world doesn 't mean the world has access to you. ; The net is not sacred. Or momentous. Or to be spoken of in hushed tones. It's been around since 1969. It's no longer new or experimental. It's just practical.

2 Craig Cutler, photographer Joe Masaro, art director Chris Moore/Chad Norton, writers Ogilvy & Mather, ad agency IBM, client Ad headline: Getting all my networks to work together is like trying to organize a plate of spaghetti.

3 Todd Droy, photographer Mike Sukle, art director Sukle Advertising/Sander/GBSM , ad agencies Water World, client Family water park billboard.

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Advertising Rodney Smith, photographer Dean Hanson, art director Fallon McElligott, ad agency BMW, client Ad headline: Have we achieved the perfect balance between complete responsibility and utter joy?

2 Graham Westmoreland, photographer Karen Holland, art director Ogilvy & Mather/Houston, ad agency Shell Lubricants, client Poster from an ongoing campaign, "Spikes."

3 Dave Gilo, photographer Rich Kohnke, art director Kohnke Koeneke, ad agency Milwaukee Women's Center, client Poster headline: In a violent relationship, your partner isn't the only one who's scarred for life.

4 Christine Alicino, photographer Tom Bonauro, designer Tom Bonauro Design, design firm Margaret Jenkins Dance Co., client Ad for the world premier of Fault.

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Advertising Graham French, photographer Simon Tuplin, art director Bozell Palmer Bonner, ad agency Budweiser, client Football poster for the college market.

2 (series) Nadav Kander, photographer John Doyle, art director Hal Riney & Partners, ad agency Saturn Corp., client EV1 ad headlines: There is no noise. No pistons. No valves or exhaust.; Step on the gas. No, wait, there is no gas. Step on the accelerator. There you go, instant motion.; You will never again use the words "fill 'er up." Or "check the oil."

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Books (series) Howard Schatz, photographer Photographs from Newborn .

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Books (series) Norman Mauskopf, photographer Jack Woody, designer/publisher Photographs from A Time Not Here, Twin Palms Publishers.

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Books (series) John Goodman, photographer Gary Koepke, designer Command K, design firm Evan Publishing/Mark Heflin, clients Photographs from The Times Square Gym. 2 Chris Hamilton, photographer Alex Harris/Gudmund Vigtel, art directors Robert Evans, designer Times 3, design firm Alston & Bird, client Wheelchair racers after the marathon, Paralympic Games, Atlanta Summer 1996.

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Books (series) Stewart Charles Cohen, photographer/art director/client Ana Bohanan, designer Photographs Do Not Bend, publisher Photographs from The Twins Book.

2 Kate Swan/Jason Beaupre, photographers Sheridan Wall, art director/designer Vintage, client Book cover for Black Venus.

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Books (series) Jack Dykinga, photographer Robert Morton, editor Joan lockhart, designer Harry N. Abrams, Inc., design/client Photographs from Stone Canyons of the Colorado Plateau.

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Books Robbie McClaran, photographer/client Kathy Ryan/Evan Kriss, photo editors Hal Wolverton/Robin Muir/Jeff Dooley, designers Johnson & Wolverton , design firm Portrait of a survivalist for Angry White Men.

Editorial 2 Gary M . Prior, Allsport, photographer Arthur Hochstein, art director Jane Frey, designer Maryanne Golon, photo editor Time, client Long jumper Mike Powell falls victim to injury.

3 Pej Behdarvand, photographer Bruce Ramsay, art director Jennifer Crisafulli, photo editor Spin, client Magazine portrait of actor/director Vondie Curtis Hall, director of Gridlock'd.

4 Michael Grecco, photographer Lisa Burroughs, creative photography director Newsweek, client Article, " Year of the Women ." Janet Evans won four gold medals in the last two Olympics. Now at 24, she tried for one more victory, but failed in the 1996 Olympic games in Atlanta.

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Editorial (series) Ted Thai, photographer Arthur Hochstein, art director Thomas M . Miller, designer Michele Stephenson, photography editor lime, client Christopher Reeve, "New Hopes, New Dreams."

2 Deborah Schwartz, photographer Mary Dunn, director of photography Axel Kessler, assitant picture editor Entertainment Weekly, client Actor William Macy, article title "From ER to Fargo, His Breakthrough Vehicle."

3 Wyatt McSpadden, photographer Norman Moore, art director Escape, client Magazine article on the Mississippi Delta, birthplace of the blues.

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Editorial (series) Raymond Meeks, photographer D.J . Stout, art director/designer Texas Monthly, client Vernon Bates and Weecho Salinas have been dragging their nets in Matagorda Bay for decades, "A Shrimp Tale."

2 Mark Seliger, photographer Richard Baker, art director Jennifer Crandall, photo editor US, client With a resume that boasts Pulp Fiction, Get Shorty and Matilda, actor/director Danny DeVito is slowly taking over Hollywood.

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Editorial Timothy Archibald, photographer Leslie Rubinoff, director of photography Live Magazine, client The feet of Tino Walenda, patriarch of the high wire circus performers the Flying Walendas.

2 Danny Turner, photographer Victoria Kohn/Kathy Ryan, photo editors The New York Times Sunday Magazine, client Portrait of Dr. James Hall after his stroke, "His Life is His Mind."

3 Jonathan Saunders, photographer Lisa Thackaberry, photo editor Los Angeles Times Magazine, client Cover story on Francis Ford Coppola, "If It Wasn't One Apocalypse, It Was Another."

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Editorial Albert Watson, photographer Fred Woodward, art director Rolling Stone, client Portrait of AI Pacino .

2 (series) Lennart Nilsson, photographer Tom Bentkowski, art director Barbara Baker Burrows, picture editor Life, client Cover story, "The Dawn of Life." Revolutionary prenatal photographs of humans and animals challenge our view of our origins and ourselves.

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Editorial David Burnett, photographer Arthur Hochstein, art director Jane Frey, designer Maryanne Golon, photo editor Time, client A lone male freestyler begins his run in the pool, "The One True Time."

2 Mark Richards, photographer Jacques Haillop, director of photography L' Express, client Portrait of John Lee Hooker, "Hooker, From Father to Daughter."

3 (series) Sam Walsh, photographer David Armario, art director Tom Brown, designer Men's Journal, client Resorts for the ungroomed at heart, "The Wild Zone."

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Editorial (series) Jonathan Root, photographer Attitude, client Magazine fashion article, "Enfants Terribles." Otto Dix, 1920s Berlin, boys dressed as girls dressed as boys.

Maxime Siwan, stylist. Darren Evans, hair and makeup.

2 Michael Eastman, photographer Arthur Hochstein, art director Time, client Cover article, "Back to Segregation." After four decades of struggle, America has now given up on school integration.

Why? 3 Max Aguilera-Hellweg, photographer Robert Newman, design director Florian Bachleda, designer Margery Goldberg, picture editor New York Magazine, client Eye surgery article, " I Can See Clearly Now."

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Editorial (series) Mark Seliger, photographer David Armario, art director David Armario/Dirk Barrett, designers Men's Journal, client "Why would a sweet elephant-loving guy like Bill Murray tip over a man in a wheelchair? What do you think?"

2 Tim MacPherson, photographer Sunday Times Magazine, client Artist Terry Frost and his son in St. lves, "Relative Values. " 3 Antonin Kratochvil, Saba, photographer Luis Barajas, creative director Rose Cefalu, photo editor Detour, client Magazine portrait of David Bowie.

4 Robb Kendrick, photographer Michelle McNally, designer Fortune, client B-52s parked in the desert, " Defusing the Cold War."

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Editorial (series) Martin Orstadius, photographer Goteborgs-Posten, client A series of horse racing photographs in a Swedish daily newspaper, "Faraway-So Close," human studies at the racetrack .

2 Rafael Fuchs, photographer Doris Brautigan, picture editor Entertainment Weekly, client "Tickled Pink," Nathan lane and Robin Williams make 'em laugh in The Birdcage. Published in Pictures of the Year section.

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Editorial (series) Kent Barker, photographer Sue Smith, photography director Outside, client Magazine article about the Mexican marathon runners that train on a volcano at an altitude of 15,000 ft.

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Editorial (series) Christopher Morris, photographer Arthur Hochstein, art director Susan Langholz, designer Robert Stevens, photo editor Time, client Rwandan refugees travel from Zaire to Rwanda, "Coming Home."

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Editorial (series) James Nachtwey, photographer Arthur Hochstein, art director Susan Langholz, designer Robert Stevens, photo editor Time, client Kabul, Afghanistan, " Death of a City."

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Editorial (series) John Huet, photographer David Armario, art director/designer Men's Journal, client For whom do these hard-training female Olympians toil? They toil for thee, "The Belles of Atlanta," Sheila Hudson, Dominique Dawes and Holly McPeak.

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Editorial Evan Sklar, photographer Jane Palecek, art director Anita Wong , designer Health, client To fight cancer, scientists spent millions putting beta-carotene in a pill. They should have just baked a butternut, " Squash : As Good as Gold. " 2 (series) Dan Chavkin, photographer Robert Newman, design director Deanna Lowe, designer Sabine Meyer, deputy picture editor Margery Goldberg, picture editor New York Magazine, client Julian Schnabel, he of the oversize paintings and the oversize ego, has always been his own best publicist. Now with his new movie, Basquiat, he's written himself into an ' 80s legend.

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Editorial Chris Wahl, photographer Wayne Janes, designer Tim McKenna, photo editor Toronto Sun Publishing Corp., client Portrait of lggy Pop in Toronto to promote his new album "Naughty Little Doggie."

2 Don Glentzer, photographer Kay Douglas/Tom Voss, art directors Beth Taubner, director of photography Men's Health, client Editorial spread about the Florida Everglades, "The Wild, Wild Best."

3 Michael Lavine, photographer/art director Seconds, client "Yoko Ono," profile article.

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Editorial {series) Christian Witkin, photographer Robert Newman, design director/designer Margery Goldberg, photo editor New York Magazine, client "The Scottish Invasion."

2 Michele Clement, photographer/art director Wendy Tiefenbacher, photo editor Kiplinger's Personal Finance Magazine, client Magazine feature " Death and Dying, You Can't Take It With You." 3 Joseph McNally, photographer Tom Bentkowski, art director David Friend, picture editor Life, client The United States men's water polo team share a laugh after an unusual portrait session, "Naked Power, Amazing Grace."

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Editorial (series) Joseph McNally, photographer Tom Bentkowski, art director David Friend, picture editor Life, client Celebration of the Olympic body, "Naked Power, Amazing Grace."

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Editorial (series) Jim Graham, photographer Sarah Habibi, art director/designer The Hunt, client Magazine article about Nancy Hannum, Master of Hounds for more than 50 years.

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Editorial Andrew Eccles, photographer Diana LaGuardia, design director Marianne Butler, picture editor Esquire, client Article on Steve Martin as a lonely guy, " Steve Martin with Penguins. " 2 Mark Seliger, photographer Fred Woodward, art director Rolling Stone, client Summer double-issue cover of the girl with the most mustard, MTV's Jenny McCarthy.

3 Cameron Davidson, photographer Marilyn Calley/Scott Feaster, art directors American Way, design/client In-flight magazine article, St. James Park, London.

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Editorial David Burnett, photographer Arthur Hochstein, art director Jane Frey, designer Maryanne Golon, photo editor Time, client Men's freestyle competition at the Speedo Invitational swim meet, "The One True Time."

For Sale 2 Chad Holder, photographer Limited edition print.

3 Karen Woodburn, photographer Framed gift print, "Day Two." 4 Nicholas Pavloff, photographer Nicholas Pavloff/Corey Graham, clients Image used for stock.

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For Sale Steve Niedorf, photographer The Image Bank, client Image used for stock.

2 (series) Theo Westenberger, photographer/art director

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For Sale Mark Gamba, photographer Madeleine Fishman, art director Portal Publications, client Poster.

2 Amy Lamb, photographer Limited edition print.

3 Scott C. Campbell, photographer Limited edition print.

3

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For Sale John Clang, photographer/art director Elin Tew, coordinator Limited edition print.

2 (series) John Rees, photographer/art director Images of Italy, created with darkroom manipulation.

2

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PHOTOGRAPHY

ANNUAL

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For Sale Charly Franklin, photographer/art director FPG, client Image used for stock. Steve Bauer, model.

2 Amy Lamb, photographer Limited edition print.

Institutional 3 Stretch, photographer Aurica Green, art director The Martin Agency, ad agency Kindercare Learning Centers, client Cover of Parents Handbook, for those considering kindercare for their children.

4 Steve Bonini, photographer Brian Murphy, designer Peter Moore, creative director Adidas America, design/client Photograph of "the road" used in a catalog to accompany product photography.

5 Steve Uzzell, photographer Terri O' Hare, art director

2

Kimley-Horn & Associates, client Brochure photograph to show diversity capabilities within the transportation division.

96

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Institutional (series) Roger lemoyne, Gamma-liaison, photographer Ellen Tolmie, photo editor UNICEF, client Documentation of the return of Hutu refugees from Zaire to Rwanda.

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1 00

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Institutional (series) David Zadig, photographer Protestant Episcopal Church of America, client Documentation of various aspects of the church in Zimbabwe and South Africa used in a traveling exhibition.

2 Brad Trent, photographer Dwayne Flinchum, art director Dot McMahon, designer Sports Illustrated/United States Olympic Program, clients Portrait of Bud Greenspan, Olympic documentary filmmaker.

2

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Institutional (series) Arthur Meyerson, photographer Lowell Williams, art director Lowell Williams/Bill Carson, designers Pentagram Design, design firm Tenneco, client Annual report photographs.

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

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Institutional (series) Fredrik Broden, photographer Jon Cannell, designer The Leonhardt Group, design firm Mosaix, client Capabilities brochure.

1 04

P H 0 T 0 G R A P H Y

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Institutional Joe Treleven, photographer Kathy Boardman Lambert, designer Franke & Fiorella, design firm The City, Inc., client Part of the annual report for a Minneapolis non -profit agency whose staff is committed to the cultural development of inner city youth .

2 David Concheso, photographer/designer Make a Wish Foundation, client Annual calendar. "Looking for Expression in Miami."

3 (series) Loren Haynes, photographer Mike Tiedy/Dan Richards, art directors Mike Tiedy, designer Nike, Inc., design/client The photographs were used as murals, posters and exhibition art-not only at Niketown, but in their Olympic Village display.

2

1 06

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---

1 08

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Self- Promotion (series) Rita Maas, photographer/client Jeffrey Saks, designer Direct mail.

2 Stephen Wilkes, photographer/client Erik Cox, designer SamataMason, design firm Sourcebook ad.

2

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

A R T S

1 09

.Self-Promotion Walter Colley, Kamper Sprouse Colley, photographer Steve Rudasics/Jackie Rudasics, art directors Saatchi & Saatchi Business Comm., ad agency/client Invitation to a summer party.

2 Eugene Richards, photographer Jurek Wajdowicz, art director lisa LaRochelle/Jurek Wajdowicz, designers Emerson, Wajdowicz Studios, design firm Island Paper Mills, division of E.B. Eddy Forest Products ltd., client Paper promotion brochure photograph from the Bravo Photo Masters series.

3 Gerard Marrazzo, photographer linda Bohm/Gerard Marrazzo, art directors l.D . Bohm Studios, Inc., client Printed promotion.

2

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ARTS

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2

112

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3

Self-Promotion Dennis O'Ciair, photographer/ art director Cynthia DiGiacomo, desi gner Cee Design, design firm O'Ciair Photography, client Sourcebook ad.

2 William Huber, photographer/ art director/client Mailer.

3 (series) Bobbi Fabian, photographer/client Mailer.

C O MMUNICATION

ARTS

113

Self-Promotion Stan Musilek, photographer/designer/client Sourcebook ad.

2 Chris Collins Studio, photographer/client Andres Zamudio, art director Sourcebook ad.

3 Brian Malloy, photographer/designer layne Peters, art director Ellingsen/Brady, ad agency Advertising Photographers of America/Milwaukee, client Print show invitation.

4 Kevin Cruff, photographer Tim Fisher, designer Summation, design firm Kevin Cruff Photo, client Sourcebook ad .

2

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4

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116

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2

Self-Promotion Pete McArthur, photographer/client Rick Elden, designer Sourcebook ad.

2 Bob Frame, photographer/art director I client Self-promotion book, Till Now Fashion Portraits.

Unpublished 3 Andrew Martin, photographer

Images of Aloha. © 1997 Andrew Martin

3

COMMUNICATI O N

A R TS

117

Unpublished (series) Henry Horenstein, photographer Aquatic animals in zoos and aquariums. © 1997 Henry Horenstein

118

PHOTOGRAPHY

ANNUAL

1997

C 0 M M U N I CAT I 0 N

ARTS

119

Unpublished Bryan Kuntz, photographer Cindy Hanan, art director © 1997 Bryan Kuntz

2 Toshi Ozone, photographer Mosaic of the U.S.S. Intrepid. © 1997 Toshi Ozone

3 Leen Thijsse, photographer © 1997 Leen Thijsse

4 Kurt Arrigo, photographer © 1997 Kurt Arrigo

2

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3

4

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122

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Unpublished (series) David Coventry, photographer Boccie player, Paris 1996. © 1997 David Coventry

2 Ed Nielsen, photographer © 1997 Ed Nielsen

2

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2

124

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3

Unpublished Charles Harris, photographer Rick Carlson, art director © 1997 Charles Harris

2 Steve Hix, photographer Chuck Hoffman, art director For an upcoming ad for a waterproof flea control product. © 1997 Steve Hix

3 Warren Salowe, photographer/art director

Brighton Beach, Brooklyn, New York. © 1997 Wa rren Salowe

4 Olivia Beasley, photographer Portrait of Angie B., The Yellow Hat. © 1997 Olivia Beasley

4

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

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126

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Unpublished (series) Michael T. Seidl, photographer © 1997 Michael T. Seidl

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Unpublished (series) RandiShepard,photographer © 1997 Randi Shepard

128

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2

130

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3

Unpublished Deborah Hardee, photographer Idaho Landscape. © 1997 Deborah Hardee

2 Sarah Reingewirtz, photographer © 1997 Sarah Reingewirtz

3 Andy Anderson, photographer © 1997 Andy Anderson

4 Charles Mason, photographer Jurassic Snapper. © 1997 Charles Mason

4

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

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131

Unpublished (series) Mark laita, photographer © 1997 Mark Laita

132

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134

P H 0 T 0 G R A P H Y

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2

Unpublished Eugene Zakusilo, photographer Life, Death, Memory. © 1997 Eugene Zakusilo

2 Michael O'Brien , photographer © 1997 Michael O' Brien

3 Joe Michl, photographer Sean Robertson , art director © 1997 Joe Michl

3

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

A R T S

135

136

P H 0 T 0 G R A P H Y

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Unpublished (series) David Emmite, photographer World War II toys . © 1997 David Emmite

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

A R T S

137

138

P H 0 T 0 G R A P H Y

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9 9 7

2

Unpublished Randall Ball, photographer/art director The Blue Lagoon. Reykjavik, Iceland. © 1997 Randall Ball

2 Joanne Schmaltz, photographer © 1997 Joanne Schmaltz

3 lonnie Duka, photographer © 1997 Lonnie Duka

3

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A R T S

139

140

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Unpublished (series) Howard Schatz, photographer © 1997 Howard Schatz

2 Dominique Thibodeau, photographer © 1997 Dominique Thibodeau

2

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

A R T S

141

142

P H 0 T 0 G R A P H Y

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2

Unpublished Morton Beebe, photographer © 1997 Morton Beebe

2 Jeff Sedlik, photographer Douglas Oliver, art director/creative director Two members of the Brotherhood of Santa Cruz, shrouded in ceremonial costumes worn during Holy Week festivities in Seville, Spain. © 1997 Jeff Sedlik

3 Jake Mills, photographer/art director © 1997 Jake Mills

3

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

A R T S

143

Unpublished Greg Slater, photographer/art director

Harlequin Beetle. © 1997 Greg Slater

2 Robert Holmgren, photographer © 1997 Robert Holmgren

3 Dennis Marsico, photographer © 1997 Dennis Marsico

4 Scott Montgomery, photographer Photograph from a test shoot at the Grand Canyon . © 1997 Scott Montgomery

2

144

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4

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145

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( Ralph Gibson on Adobe®Photoshop®4.0 )

The celebrated fine art photographer and bookmaker Ralph Gibson has a singular goal. "All I want is to protect and maintain the image as it traverses from the surface of my eye, to the surface of the film, to the print surface. This is where an image is either made or lost. When I saw this landscape in Burgundy, I was immediately drawn to the chiaroscuro effect, but the color exceeded the range of the film. I was able to achieve what I first saw using Adobe Photoshop hue and saturation adjustment. I still load my camera and go

If you

out into the world, but my dependence on Photoshop and the computer couldn't be

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you can

the world. Information on Adobe Photoshop can be found at 1-800-492-3623

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l·BOO·TIB·IMAGES

We Get It

Editor's Column

BY PATRICK CoYNE

W

e saw a modest 5.3% growth in entries to this year's Photography Annual. That said, 7,412 entries to screen and select in two days is still

a monumental task. The odds were tough-only 169 entries

were selected for inclusion-and images had to be truly exceptional just to be considered.

Bennett

Reynolds

Knowing that the world is going digital, we offered winners the choice of sending a digital file instead of the traditional transparency or print. Over 15% of the selected entrants chose to do so and, while we liked how it streamlined our production process by eliminating our need to scan images before positioning, we did find color inconsistencies on several pieces that needed to be corrected at the proofing stage.

Obviously more education is going to be required on the part of photographers, art directors and publishers to make sure that the final result matches the creator's intentions. Just like the old days of converting transparencies into printed pieces, the transfer of an image from one medium to another is not an exact science.

Essex

This year's jurying began on Sunday morning, April 27th at Hyatt Rickeys in Palo Alto. We worked in two large conference halls, each equipped with a projector for slide entries and five rows of tables for tearsheets and proofs.

The jurors worked in two groups of three, I was the sixth judge during the screening process. All but the smallest categories had been divided 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.

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

Thackaberry

Armario

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 allowed us to make sure that every entry was voted on by every juror. Finalists on slides were voted on by each juror checking "in" or "out" on scoring sheets.

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Three 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 were based on reproduction evaluations, pacing and the need to control press channels and ink usage for web printing.

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selecting the 38th Annual Photography Exhibition.

a...

P H 0 T 0 G R A P H Y

A N N U A L

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2

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Editor's Column

David Armaria is the design director/art director at

Mens journal, New York. He became addicted to design as

a child. His family moved frequently and afterward he was the one found arranging the furniture and designing the yard.

The only thing left untidy was his bedroom, overrun with his true addiction: magazines. Now they're his life. A graduate of the School of Visual Arts, his first job in New York was at Progressive Grocer (where he cried the first night because he wanted to be at Esquire, instead). Armario moved on to West, Mac World, California Business, Conde Nast Traveler, Esquire (finally), American Health, Mirabella, Discover, San Francisco Focus and currently Mens journal. The recipient of

numerous awards, David served on the board of directors and as an officer of the Society of Publication Designers.

Sue Bennett is a freelance photographer who relocated

to Flagstaff, Arizona, an escapee from Los Angeles . After earning degrees in political science (University of California, Los Angeles) and journalism (Northern Arizona University), Bennett was diverted from a planned career in newspaper journalism some fifteen years ago. Her clients are advertising agencies and design firms in the United States and editorial publications in Europe and Japan. Some recent clients include IBM, AT&T, United Airlines, McDonald's, Eastman Kodak and Wrangler, as well as Saatchi and Saatchi, Pinkhaus/ The Designory, Fallon McElligott, Ogilvy & Mather and DDB Needham. Bennett is currently working on a video documenting her work with Nikon.

Joseph Michael Essex is a principal for the Chicago-

based visual communication consultancy Essex Two. The office places particular emphasis on the positioning, naming and identification of corporations and products, as well as the publication of corporate collateral material and corporate issue-oriented advertising. Formed in January 1989, the

158

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office has worked on projects for such clients as Ameritech, Borg-Warner, Spiegel, The Marmon Group, Motorola, Illinois Institute of Technology, McDonald's and NEC. Prior to Opening Essex Two, Joseph was senior vice president, director of design for Burson-Marsteller World Wide. In his 27year career, Essex has received over 300 design and advertising awards from every major communication publication and organization in the United States, Europe and Asia. He has lectured extensively to both student and professional groups.

Terence Reynolds is co-creative director of Jackhammer,

offshoot of The Richards Group advertising agency in Dallas, Texas. Equipped with a B.A. in fine arts from the University of North Texas, Reynolds landed his first job as an art director with Bozell & Jacobs in Dallas. After working his way through the ranks, he headed to GSD&M in Austin, Texas.

After honing his creative skills, he left to join Foote, Cone & Belding in Orange County where he helped sell Mazda cars and trucks. In 1993, he returned home as a senior art director at The Richards Group. His list of accounts includes Hummer, Dr. Martens Apparel and Footwear, Oxygen Inline Skates, id Software, Volant Skis, 97.5 The Edge alternative rock radio station and Wearabout Apparel.

Lisa Thackaberry is the photo editor of The Los Angeles

Times Magazine and is responsible for assigning and art directing the photography and photo illustration for the cover as well as feature articles. She coordinates all aspects of photography production, proposes and produces magazine photo essays and works with editors and art directors to provide visual solutions to editorial concepts. Prior to this position, Thackaberry was a photo editor at Home Magazine, California Magazine and GQ in New York City. Lisa has a B.A. in Art History from the University of California, Los Angeles, and attended Sotheby's Works of Art Course, History of Fine and Decorative Arts in London, England. •

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Contributors

Features

Guild and is also the author of

Affairs column is an excerpt

taught at MIT, the School of

two books . She heads her own

from the revised edition of his

the Museum of Fine Arts

firm, Barbara Gordon Associ-

Boston, Northeastern University

ates , in New York City. She has

book, Business and Legal Forms for Photographers.

and currently teaches at Harvard

written on freelance issues for

advisory boards. Wendy has

Sam McMillan is a San Fran-

cisco-based writer and prod ucer of interactive multimedia projects for a number of Bay Area

CA since 1982. In this issue ,

appeared in Communication Arts

she offers success strategies for

since 1984, and her book is tided

the '9os.

Angelynn Grant is a Boston-

Design & Technology: Erasing the Boundaries.

Tom Monahan is a founding

and educator. She has taught at

partner of Leonard. Monahan of

Rhode Island School of Design,

media Studies where he is pro-

Pat Soberanis is a San Fran-

Providence, Rhode Island, and

the Art Institute of Boston,

gram director, Digital Design &

cisco-based print and online

president of Before & After cre-

Simmons College and MIT. Her

Production, McMillan writes

publishing consultant. Her

ativity training and consulting

freelance work ranges from

frequently about topics concern-

Web site, Publishing Resource,

in Tiverton, Rhode Island. He

compact discs to Web site

ing the interactive multimedia

is located at www.soberanis.

has won numerous creative

design . You can view her work

design industry. He wrote the

com. Pat reviewed Macromedia's

awards and was featured in the

on her own site at www.shore.

Technology Resources column

Flash 2.0.

Wall Street journal's creative

net/'"'agrant. In addition, she

leaders ad series. He has written

is the host of a jazz program

production houses. In addition to teaching "Real World Writing for Interactive Multimedia" at San Francisco State University's Department of Multi-

and the Technology feature on Veronique Vienne is a writer

stock photography online.

who lives in Brooklyn, New

based graphic designer, writer

and edited our Advertising

on MIT radio , WMBR. She

column since 1990.

wears another hat for CA as

York. For years a practicing

Columns

exhibit designer, she later

Tad Crawford is an attorney,

a book reviewer.

Wendy Richmond is recog-

became a magazine art director

author and publisher for New

Philip Krayna is a graphic

nized internationally as an inno-

for publications such as Interiors,

York-based Allworth Press. A

designer and head of Four Eyes

vator and commentator on

specialist in legal issues pertain-

Studio in San Francisco. He

visual communication and

Image magazine, Parenting and Self She now writes about

ing to the arts, he has served as

writes frequently about design

technology. She has been

design and cultural trends. Her

chairman of the board of the

and the media. His last feature

involved with computer-based

articles have been published in

Foundation for the Community

article for CA was on Cuban poster design.

media since 1977, beginning

numerous design publications

of Artists, general counsel for

with research in design at Mas-

and journals, including Com-

the Graphic Artists Guild and

sachusetts Institute of Tech-

legislative counsel for the Copy-

WGBH TV. Her writing and

munication Arts, Metropolis, Graphis, Print, Eye and the AIGA]ournal as well as magazines including House & Garden, Harper's Bazaar, Town & Country, InStyle, Mirabella and American Photo. She wrote the

teaching focuses on this ques-

Design Issues column, edited

tion: How is technology affect-

by DK Holland .

nology. She has participated in the formation of software companies to develop new communication media and tools, and co-founded the Design Lab at

ing the way we communicate?

Wendy is an NEA grant recipient and has served on numerous

and photographer representative the Society of Photographers and Artists Representatives and a member of the Society of Illustrators and the Graphic Artists

P H 0 T 0 G R A P H Y

right Justice Coalition. Author of Legal Guide for the Visual Artist; Business and Legal Forms for Graphic Designers; Business and Legal Forms for Illustrators; Business and Legal Forms for Photographers; and The Secret Life ofMoney, he has been a CA columnist since 1983. The Legal

Barbara Gordon , an artist

since 1969, is a past president of

160

Books

University. Her column has

A N N U A L

I

9 9 7

Letters to the Editor

Museum and has no connection with the DeLor Design Group.

Barbara Gordon I've been meaning to tell you folks at CA about Barbara Gordon's excellence in her assessment of the freelance scene.

Ever since she began writing for you, hers is the first column I turn to with each issue.

Her insight and experience have been an inspiration to me. I wish her many more years of success.

Thanks again for the excellent magazine!

HowARD DAvis DAvis STUDios, INc. BALTIMORE, MARYLAND

that Propaganda Company Limited's choice was well-suited for their image, when taken in context and with a somewhat light heart.

JASON PARE THE SwELL DEsiGN CoMPANY BRAMPTON , ONTARIO, CANADA

Errata On page 53 of the May/June I996 issue, we weren't provided with the additional information that New York-based design firm Zaus/Downes provided assistance to Jager Di Paola Kemp in the design refinement and engineering of the

Letterhead Design On the envelope for Propaganda Company Limited (page 4 7, Design Annual, November I996) was a picture of Lenin, who along with Stalin, was responsible for more deaths in his country than Hitler could have ever dreamed.

I did not hear any complaints.

In the May/June I997 issue, Seibert/ Perkins Design didn't supply us with complete credits for some of their projects. On page 50, World Cup Soccer should have indicated Larry Klein Design (Larry Klein/Krister Olmon/ Trisha Ferry/Inge Kreil), principal design consultants; Environmental Image/

If even the shadow of Adolph Hitler can make us cower in fear, then he is

Wayne Hunt Design, Inc./Martha

still winning his war. While the association with such a man may have been

sultants; World Cup Organizing Com-

a poor choice for Propaganda Company Limited, I also think it was a brilliant drop in Hitler's mythical status. He is

vice president/project director; Suzanne DeMers, project manager; Kenneth C.

becoming like one of those movie/TV stars that host infomercials at 3:00 in the morning. He is a puppeteer that only holds a mess of tangled string-the

Schwartz, Inc., additional design conmittee, client (Maury J. Blitz, associate

tion that Marcolina Design was a subcontractor to KnowledgeFlow, Inc. of Bridgeport, Pennsylvania, and should have been included in the credits for the design and production of the interactive/kiosk installation for CoreStates Personal Investments Resource Center.

Dermot Mac Cormack, art direction; Dermot Mac Cormack/Dan Marcolina, interface design; Dermot Mac Cormick/ Dan Marcolina/Joe Kelter (book opening animation), 3-D and video animation; Rebekah Higgins/Dan Burgin, KnowledgeFlow, Inc./Janine Polinski , production assistance; Michael Lingle, MCI Interactive, programming; Dan Burgin and staff at KnowledgeFlow, Inc., hardware installation.

On page I38 of the I997 May/June issue, in the review of TED7, we showed several images from Riven, the CD-ROM game sequel to Myst. Rand Miller was incorrectly credited with the quote in the caption. Actually Richard Vander Wende should have been credited.

Our apologies.

On page 2I2 of the I997 July issue, in the review of Stan Cotton's book, In I2 easy steps, Anybody can be in advertis-

Gilbert/Kristen Dietrich, design/produc-

ing, it beats working for a living, we mis-

tion). Page 53, The California State Polytechnic University digital ill us tra-

spelled the author's name. Our apologies to Mr. Cotton.

tion was done by Marcolina Design.

Additional members of the develop-

In the Materials column, on page 220

puppet ran away long ago.

ment team for Canal City Hakata, in

of the I99 7 July issue, the listing for GATF was incorrect. Their phone

If, the next time Hitler steps up to his

Fukuoka, Japan, page 55: EDAW, Irvine, California; Wet Design, Universal City,

number is (4I2) 74I-686o; their new address: 200 Deer Run Road, Sewickley,

California; and Joe Kaplan Architec-

Pennsylvania I 5I43.

podium and throws his hand up in salute, we all just snicker, his terrible hold on us will crumble into dust.

tural Lighting, Los Angeles. Page 6o,

As to why that piece should be included in Communication Arts-because it was

studio photography of the Spinergy xrated dealer promotion by Sam Walsh.

a good design. Jim Bremer (Letters to the Editor, March/April I997) complained that the majority of designs in

On page 126 of the May/June issue, The DeLor Design Group is shown in front

94306 or e-mailletters@commarts.com. We

of a building designated as their office.

clarity and length. Please include a signature,

This is incorrect. The building is the

address and phone number. Anonymous letters

Hillerich/Bradsby Plant and Baseball

will not be published.

the Annual had little to do with the actual client's needs. I agree, but feel 164

Converse point-of-sale-display.

On page 128 of the I997 May/June issue, we weren't provided with the informa-

P H 0 T 0 G RAP H Y AN N U A L I 9 9 7

Address correspondence to: Letters to the Editor, 4IO Sherman Avenue, Palo Alto, California

reserve the right to publish letters and to edit for

how

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Taking Stock: Stock Photography meets the World Wide Web

BY SAM McMILLAN

T

he stock photo business is booming. The demand

directors and designers, Aurness says, "Their monitor is

for images has never been greater. The advent of

now one huge lightbox. They can download images onto their computer and have them in their project spread

electronic distribution, with images burned onto

CD-ROM or transferred over high-speed phone lines, has,

within an hour using the minimal resolution for the

instead of cannibalizing the stock photo business, only

layout. " With a library of CD-ROMS potentially holding thousands of images each, that means less time wasted

expanded it. Our culture's visual appetite is

Tony Stone Images www.tonystone.com

on fruitless searches, the ability to perform precise searches using built-in keyword artificial intelligence

voracious. And stock photo houses are more

The Gallery

capabilities, faster turnaround time and, one hopes,

than willing to feed the

'WtlaJIIO·b-......-oiO.Iil\lw:htMYbllliraJimialbl

an impact on the bottom line.

beast with a menu of high-tech delivery systems ranging from

Odn7 Atn.,.hlllllmlcu , Y~cuaf'd:1•ltctollb'a.Wtillllcab atcollc*JRIIIIIII~U7ba.t:nbjlnla.a••. a.Dft'ft;,J' Po,bl ~.,111rD'ntiiiOIIICbia~..U·~-4Jc:Ml

., ......... .-om.

U)'OIIYOUIIikl., . . mon:lmlpslib*-I:D.'Illlo.Dny, )Olla,~

::::ra~=-s , wllil:llwtolfa"OIIa~lMDb

The World Wide Web meets Stock Photography: Operators are (still) standing by

.....

llM(t:stmJa'!laiOeJiuyD . . . . . . bCOftDRfdli~stmplytmUI Ol"fu • • Pbob Requnt Ponn,. ,_,.Ill afeiUIIOiaambm ate. sliD•

,.,.

~ . . . . . . . . . . C:. . . . JIIIU, mdlaa. ce.11JocJI, CIIIIyapaa:M a..U.JI(ldoaciO'Ia"u..m.,-,.,lllnrJ Tcnac:ulllo,..e. Phob ReqoutPonn bctft••~ottlltlllllllrt:sJiftllllldallll.o.P}Iol)

CD-ROMS containing

~'ril...:lltllc:ollc*IGb)OIIfMolcllillp. 1biJIIOC*Im fcwOidllilciiD4..acnxkilrllp:lil4nllldlll lbeMtli JIIIAoaoftllft

PkluiMawu.ofo. Copyq;htS••mentmldoaatenam,tb-atqOf

thousands of compressed

The Web site at Tony Stone Images (www.tonystone.

e..a.c-wtdmacc:onc11ac111ftat.

SUctr.:.a.~ca~

images to proprietary,

com), the stock photo house known for its wide

members-only high-

selection of stock images that diverge enough from

speed digital networks ,

the typical white-bread, white-man's world of stock

to Web sites where

photos to be interesting, is an experience in culture

d

images are searched for and served a la carte .

shock. Instead of photos, the user experiences pages of introductory text, an e-mail registration form that promises to "create your own home page" for viewing

With paper costs soaring,

Tony Stone Images, and finally a Gallery of images

mailing expenditures

represented by candy-colored 3-D objects. There's not

increasing and a height-

a photo in sight. Many

ened environmental

clicks into the Web site

awareness of the impact

Order

I Contact I

of printing hundreds of ,.._....._. ...... ~...-:y,a.-ca.•-,.. .......

thousands of catalogs

Pto~ . !hu1r~n. !MUitry, HMI1bCm, Spo:==;!~:_rw' · Aru.rnals, Pl'.olljo\ln.tlbM. n.vtl, Pood,

a year, is electronic

appear, along with ordering information.

delivery about to make

Clicking on the ordering

traditional catalogs

information brings up a

passe? Wesdight thinks so. One of the largest and

form that includes a Photo

busiest stock photo houses in the industry, the

request asking for detailed

Los Angeles-based Wesdight expects revenues to

information, intended

hit $10 million for 1997, a doubling of daily sales

use, vertical or horizontal

from the period a year ago. A full 85% of those

format, job reference

sales are coming from images on its "Creative Freedom" CD-ROM.

and lots of scrolling later, a mere handful of images

number and a Federal liaison International www.liaisonintl.com

According to Wesdight founder, former National

Express billing number.

Using information gleaned from their request form, the

Geographic photographer Craig Aurness, "People have

photo researchers at Tony Stone will search their archives

become comfortable using CDs in the business environ-

and send transparencies that hopefully meet the needs of

ment. " With the graphic design industry almost entirely

the client. And once usage details are determined (like

digital , the computer monitor has replaced the lightbox,

image reproduction size, media placement, press run, ex-

the collection of slides and the loupe. For creative

posure time, etc.) a price will be quoted. With a License C 0 M M U N I C A T I 0 N

A R T S

169

To Use granted, transparencies are sent out via traceable

PhotoDisc www.photod isc .com

courier. In other words, pretty much just like in the

ROYALTY

FREE

DIGITAL

STOCK

PHOTOGRAPHY

old days.

Surf over to Liaison International at www.liaisonintl.com and you'll discover a simil ar state of affairs . Liaison International Stock Photography's Web site features 5, 000 images selected from their catalo g of 4 million photographs. While their graphic presentation is much more professional, and their inventory of available images is larger, you still can't order and download a photo from the Liaison site.

Newcomers are required to step through a simple Mm l laoet CoU.ctM>•I Storc:l l Dts'i" Mi>4 1 l>. Tho Lo•p• I A)o1d Us I M>.p I F AQs I Mill I L"''"" IIICo

registration process and agree to licensing and copyright terms for the Liaison site. In addition to browse and search functions, Liaison includes an index of subjects

VJSttOfS ~ Aluru• Oalutt 3 0 for Vmdows :ru,y ~~ UD.agts from tlus ntt o~y )J ~u.g Nttsct.pt NlVlgtlor 2 0 or ~:Ur Muu.tos• AOL "V.Strs Wl1l J.OC bt :Ult to do.WM. imagts from. tlw nte a1 llus tl&t Ivb.atuaa.a.ce on tlus sltt n:q\Uf'ts dowmuu. l.ttwua 2 00 Uld 2.30 . . hafJ< D•ybgW Tuu(9 00 to 9.30 GMT)'"~ MoW.y tbro"i~ FrW.y

and photographers. A simple e-mail form begins the ordering process with Liaison's sales staff and photo researchers who will contact the user regarding usage rights and the cost of a license to use the requested

Image Search Results

photos. Again , the Web is used as a display,

Hete ate the imageo mat:hin( your oeen:h crtlelia and oelec11!d di3play optioi13 . You mu.t oelect a opeci!ic te30lution and licetl30 befote you cen odd the image to your Shoppii\i: Cart.

not a delivery system. While it makes a certain amount of sense to market these images over the Web, it is a frustrating

C ~ surc:l

Vitw S Joon~

erit:tril for tM laoet FW.r.

Ctrtof picks fro:allelow.

Registtrt( Cutom.trs DowolDM

experience at the end of a photo search,

COlii.JS Htn .

to know that you will have to pick up Search . u o• molUIW... . Dbpla,tDg 10 of 332 iJucu (poge 1 of 20) .

the phone, and begin jumping through

T o' will)t: Ule to rnUw t ..t: first 200 ial,ft S of yov cvrt.at s ure .. stt .

another series of hoops before you can get your hands on the images you so

llo...tahs u.006"420 from Na.tvt &:: La.dsca.pt

desperately need.

0

0 Pia<• !J>. sllon~ ""'· thta c:lloost •

te30lution:

lw l s ..ic

0rstltct rrttcom.)ror 4oWllloa4.

Reaching consumers at their maximum moment of need You're online. You've got a high-speed

hotodisc: design mind -

modem and a big hard drive. You're in

I foc:.s I wlo l llowl•xhll>lll c:tl.IWrl

""'lu"' l lllfo

touch with the modern world. You need top ten

images, and you need them now! You bUild

want PhotoDisc, which features 50,000 downloadable

a des1~ner can h e ~ p

vayo

a better vebstte inteiViev

Vlth

images on its Web site (www.photodisc.com). And they

@ tl as opens the -.rorld

are yours for the taking, providing of course you supply

@!Wmagazme com)

a valid credit card number.

While PhotoDisc does a good job of cross-promoting

testing the edges

their more traditional CD-ROM line-up of merchandise, their Online Image Finder is the heart of their Web site.

Images in the Online Image Finder are available for purchase and downloading over the Web. PhotoDisc key word searching is simple, powerful and fast. Once a searched for image is found and selected, users step through a straightforward ordering process. Licenses are awarded to registered customers under a basic usage license for $19-95 for a 6ooK image and $49-95 for a lOMB 170

P H 0 T 0 G R A P H Y

A N N U A L

I

9 9 7

u.mg Auto PIX's Photoohop

plug-m Photo/Grapluc Ed~eo

lllinrn&: company

the sa:metz the cko

blackotone

0f

art nev

...oc ...11!s

med1a

mvtnllOn

image. Resale licenses are available at $II9.95 for a 6ooK

Photoscape www.photoscape .com

image and $179·95 for a lOMB image.

Ordering images for downloading from PhotoDisc's Online Image Finder is a simple process of registering (credit card numbers are protected) as a member and then adding images to a "shopping cart" function.

Images can be downloaded for comping immediately once licensing terms are agreed to. This process of instant gratification takes roughly fifteen to twenty minutes for search, retrieval, purchase and downloading from home page to hard drive. Registered users can download 150K images for comping purposes without charge.

Come for the photos, stay for the links Photoscape at www.photoscape.co m takes a slightly different approach, charging photographers to sign on to its Web site, then posting their portfolio of images with cross-links bot>scape* v.. crea1e<l rar ert diiect>CI and desi&:nelll tl viev 1he vork or only 1he best professional pbotl(raphelll in our indusay. Join ovor 100 pbotl(raphelll by caJlin&: 201 .593 .0365 betveen 8:00AM and 6:00 PM I!ST or just cbcl< heie

I

Spotlight Portfolio: ©Thomas Fancisco

to their own Web sites, or to stand-alone Web sites that Photoscape will build and service. Much the way a shopping mall houses small stores to drive consumer traffic to a central site, Photoscape is hoping to bring art directors to their site with an

One Show Winners Announced Wieden &. Kennedy IeCelved 10 One Sbov Pencils but1he "Best or Sbov" vent 10 Grey Advonis!ng/Melbourne . TBWA Chia~Day's Nlssan spot von Gold rar conswnor \!Ievison. See 1he rest or 1he One Sbov vinneCI by cbckmg here

Killer Commercial for the Week l!vory veek ve vill post a nev killer collllllOrcial right here.

The lat!st rrom 1he "ThroU&:h 1he Bottle " campai&:n.

Ir you need QwckTime pl1J&·W tl VleV commercials , click here

To•ay's .U.nrtisillc NeY3

An •irectors. cop,....nters ut bslcurs . Submit your URL tl us and

Advonismc A&:•

ve'lladd you tl our Creauvos LJS11:ng Click here 10 getllnked

Ad Week

aggregation of more than roo top photographers, including Steve Bronstein, Jody Dole, Tak Kojima, James Stiles and Franz Waldenorff.

"We believe the Internet is the new medium of portfolio presentation," says Linda Watson, president of Photoscape.

Photoscape is exploiting the inexhaustible physical resources of the Web to deliver a

LJCht!nvalt!r, Kenn Man, Ken Moms, Bill Page , Let

Ravazzaru , Pablo

portfolio of thousands of images via a Tr line, UUNET Technologies server support, a 50% compression ratio and the ability to link from the directory to individual photographer's home pages.

According to Watson, Photoscape "offers twice as many images as any other online resource."

A journey to the Photoscape site begins with a series of

Ross S1Ud10 , Frank

beautiful images served in a random slide show. Click to

James

enter and beauty is replaced by the ugly truth of most

Sylvestre ,

stock photo houses: the legal fine print. Photoscape has a

S1lles ,

Lamme Valenuno, Prances so

Veronsky, Frank Waldelllorrr, Franz

screenful of it, as do all of the stock houses on the Web. Photoscape at least allows for the use of their images in comps and presentations , provided "s uch usage is made without any form of profit, intentional or not, on behalf of the individual, group or business using the images. " Accept their terms and you can now enter their site.

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

A R T S

171

One of the smart things Photoscape does is that it uses

Search & Download Sites

the Web to present more than a catalog of photographers' works. Monthly spotlights feature hot new ad campaigns,

Stock photography sites where you can search, purchase and download images online.

showcasing the photographer's work (of course, it's always

PhotoDisc www.photodisc.com/

commentary that provides a case study of the creative brief,

a Photoscape photographer), with intelligently written

MetaPhotos metatoys .metatools .com/photosales/

the execution and gushing praise for the photographer's

West Stock www.weststock .com/

ability to work under pressure, solve creative problems and

Publishers Depot www.publishersdepot.com

create successful nuclear cold fusion experiments in their

RubberBall Productions www.ru bbe rba II. com/order. htm I

kitchen sink.

Search & Order Sites Stock photography sites where you can search but images are shipped after ordering offline .

A directory of advertising agencies provides a thorough, and valuable, listing of ad agency Web sites, including a link to even more directories, including the List, which provides e-mail addresses of major ad agencies and the URLs of their Web-based clients (for £40) and Yahoo's

Digital Stock www.digitalstock .com/

Agency directory; for the adventurous, there's a list of

EarthWater Stock Photography www.earthwater.com/

agencies in Canada, Australia and, for the truly venture-

Index Stock www.indexstock.com/

some, a link to ad agencies in the Ukraine. Designers and

Liaison International www.liaisonintl.com/

creatives are similarly honored with directories of Web

Vivid Details www.vividdetails.com/IPLPhts .html

links. In all it's a vast clearinghouse of information, and one that is destined to be bookmarked by a lot of people in the industry. The only drawback is that, if the user is

Bette Garber's Highway Images www.h ighwayimages .com

not careful, a quick trip to this Web site for a photo search could result in hours spent surfing from one designer's Web site to another.

The site is functional and good looking. Photographers are listed in alphabetical order. Clicking on a name brings up a framed series of scrolling thumbnail images.

Click on an image and it expands to almost full screen.

Click on "agent" and you get a listing of agents. Click on an individual agent's link and their contact information appears, including an e-mail address when available, along with thumbnail images by the photographers they represent.

The promise of instantly searching for, finding, downloading and using images viewed on the Web remains, at many stock photo houses, just that, a promise. For some it simply is a matter of resource : not enough money, manpower or time to get their images prepared, tagged and cataloged in a database. Other stock photo houses inhabit a sort of limbo, a netherworld where images are displayed , but the ordering process takes place the old-fashioned way, over the phone. And that seems short-sighted and a shame.

Once these images are scanned, the next step should be a slam dunk. A seamless transactional dance of ones and zeroes zipping across the phone lines, a commercial minuet in which digits are subtracted from your credit card and digital information arrives on your hard drive. •

172

P H 0 T 0 G R A P H Y

A N N U A L

I

9 9 7

Digital Stock www.digitalstock.com

In a Hurry for Stock?

Type in "stock photography" in Yahoo 's search engine, and click on the "options" link to restrict your search by clicking the radio button that defines "Matches on all words (AND) ." You 'll find 82 matches that have been added in the last six months alone. With a little poking around you can turn up some diamonds in the rough .

For example :

sear ch online orders phone orders virtually free

ne w s guest

book

..

e-mail

DIGIY.X. STOCJ: m MOVDJG I

Dl&i1111 St>ck ha3 expanded thank:! \:l you.

On Juno 9th, the company movod in\:l o 12 ,000 :sq wue foot bulldin( in l!ncinita3 , Celi!ornlo., just flvo mlleo north of the previous office. Pleooe make nolle of the nev oddreoo and phone numbeD :

1.760 .634 .6500

iii

mo~~•or MOUTH-W ...TEIIIXG IMAGE8 : DI&IIOI Sttk

www.skyviewsurvey.com Provides aerial stock photography of views around New York and New Jersey. www.golfoto.com The Yahoo search blurb calls these "breathtaking golf photography" which is a contradiction in terms but you be the judge .

IJ~iW ·'·4~:l ClV)'tV~IliVJ ;~7.'il<.~vllf,,•o~~tJr

i!Jk:ilv'l.i.<, (~ !~itl.?4 OJIIIIJY. ' IU~ .'>4S. 45/4 Ttff.· m~ 6S4. 65l~7 P.1r. · m~ 6S4. 6!1117

CoipOration t. the lead in( publioher of hl&:h quality, royolty-free, ottk phot:l&:raphyon CD ROM . l!ach of our 73 dt.c tltleo t. available for only $249 each , and coniO!no 100 profeoolonlll, hl&:h·reoolution, tma&:eo in o opecific COlle(Ory,

www.gaze.co .uk/gHome.htm A gay and lesbian stock photo agency based in the United Kingdom, including "demonstrations" and "body styles."

GETTIXG ST~TED :

PrevlevtheentlreDI&IIOI S\:lek collection of tma&:e• vith the Slal'lerPok. Tho bundle include• an all nev 336·poe:e Portfolio coiO!o&: , and o nevly updoed , fully oeorchoble CoiO!o&: CD· ROM .

Oet PRHH next·doy dellvory of your CDs anyvhere in the contlneniOI U.S.

www.tweb.demon .co .uk/dspl/index.htm Find out how things are in Glockamorra-20,000 images of Ireland are available from Don Sutton Photography.

Digital Energy www.digital-energy.com/html/n ab.html

www.prairienet.org/wildperceptions/contact.html Offers a portfolio of nature photography. www.digital-energy.com/html/nab.html This library of motion picture stock footage includes an online viewer that allows users to preview selected shorts . www.mediafocus.com Will send you free 72 dpi images for comping purposes from their online stock library. The key words Design Tips links to a collection of multimedia graphic and design tips and tricks found on the Internet.

•••••••••••••••••••••••••••••• I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

Wild Perceptions www.pra irienet.org/contact. html

I

I

I

I

I

I

I

I

•

www.hotbot.com The same phrase used here reveals 7,412 matches, which is an embarrassment of riches . However, where else could you find : www.highwayimages.com Bette Garber's Highway Images for stock photos that say really, really big trucks . www.eunet.ro/Ciients/graph/default.htm Dinu Lazar's stock photography direct from Romania where fashion and glamour stock photos look a lot like fashion and glamour stock photos the world over. www.burnsarchive.com/ Billing itself as photos "taken by, for and of the common man," Burns offers more than 400,000 historical images of medical monstrosities, death and dying and war.

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

A R T S

173

Happy Happy Daycare believes that "All children can be winners."

HP DesignJet 2500CP and 2000CP Large-Format Printers. Big prints can be big fun. And making them up to 3' x 150' has never been easier than with the HP DesignJet 2500CP and 2000CP large-format printers. A starting price of $9995 : 600 dpi color photo-quality printing and the same engineering standards found in our regular printers means owning and using one won 't be a big ordeal. For a print sample and to find out where you can see a demonstration, ca/17-800-857-7770. Built by engineers. Used by normal people.

Ff/n- HEWLETT" ~~ PACKARD

Video as Learning Art

BY WENDY RICHMOND

I

taught a workshop in Germany last November, and

their work. I was delighted and grateful; I found it enor-

Nobuyuki uses this practice in two ways. First, he feels that it forces him to understand the event or activity as he is shooting. He is looking for the essence, for the visual clues that give insight about the event. Second, he and his students and colleagues view the tape immediately after the activity, using it as a critiquing tool for analysis and reflection.

While the event is fresh, the video provides feedback and

mously helpful to review the event, and to see what worked

encourages group discussion.

well and what didn't. It was a wonderful vehicle for reflec-

Nobuyuki showed us examples of his "Learning Art" from

tion, not only for those who made the tape, but also for the

events he had shot in Japan as well as pieces he made from our classes at Harvard. They were made up of short bits

several months later I received a videotape from some of the participants. They had shot lots of tape of the

two-day session, and then edited it into a short piece. The

videotape showed the participants in action: brainstorming, listening, creating and showing each other the results of

other participants.

This reflection, however, took place a number of months after the event. The workshop was about sixteen hours altogether, and the video piece they created was about sixteen minutes.

I shudder to think of how much time it took them to go through so many hours of tape, selecting and juxtaposing.

The work-to-reflection ratio was way too high.

How many times have you shot video of an event-an interview or a brainstorming meeting-and never looked at it again? I was lucky to have participants that took the time and initiative to create a short, high-content review. But what if, rather than shooting sixteen hours of tape, they had only shot sixteen minutes? And if all of their editing had been in-camera, we would be able to watch it together at the end of the workshop, instead of months later, separately.

Set aside for a moment your knowledge about what it takes to make a good, well-constructed video. Instead, think of in-camera editing as note-taking. If you are writing a fullfledged article for publication, you might record and transcribe the entire event, and use it as material to be edited later. But if you're taking notes for yourself and the other participants, you are jotting down the highlights, the important points. You are editing the event in real time. A "note-

shorthand, concentrating on facial expressions, body language, interactions between people and things and interactions between people.

Although I'm a believer in this learning art, I've learned that you have to choose your role-participant or observer. Near the end of his stay in Cambridge, there was a student event that Nobuyuki attended. Although he brought his camera and was shooting, he warned me that it would not be like his others. This was an event in which he was a full participant, not an observer. As I watched the video later, I realized that it was, indeed, different from his other videos. It didn't feel as concentrated or focused. The few times that I have tried in-camera editing, I've found that it takes complete attention, and I could only be an observer of the event, not a participant. In each activity, someone must choose and own that role.

most of which employed visual exercises. One of his most

While you may not give workshops or teach, you are probably involved in activities-work that involves people's participation-that you want to review and evaluate. The point of using video in this context is for reflection. Where were people engaged? Bored? Annoyed? Excited? Where was the action? Where was the energy? Where was the most focused concentration? In the opportunities I've had to experience this reflection technique, I have always learned something that I would have missed, whether I'm in front of the camera

revealing activities is his use of in-camera editing. Nobuyuki

or behind it. •

refers to in-camera editing as "Learn ing Art, " that is, a

© 1997 W. Richmond

taking" video is an evaluation tool for the participants.

During the past year I have been privileged to witness this technique first-hand, as I watched an expert: Nobuyuki Ueda, a visiting professor of Educational Technology from Kobe, Japan. Throughout his stay here at Harvard, Nobuyuki shared his innovative theories and practices about learning,

creative activity that helps you to understand what you are witnessing.

176

that told surprisingly cohesive stories. There was no dialogue, but there were interesting uses of type: relevant words from a blackboard, screen shots ofWeb sites, headings from handouts and close-ups of students' notes. He captured the different pulse points of the activities in a sort of visual

P H 0 T 0 G R A P H Y

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F

lash 2.o's predecessor,

tions: a timeline at the top,

FutureSplash, was a

with rows corresponding to each layer and frames arranged in sequence; and the frame window below, where you design and edit the current frame (see Figure r).

hit from the moment

it was introduced last year,

with Microsoft and "The Simpsons" swiftly incorporating FutureSplash animations on their Web sites.

With good reason: Then as now, the intuitive, vec-

Figure 1. Using Flash 2, it was a snap to create these interactive navigational buttons for the Web. The final file size, including animation and a click sound, is a mere 5KB.

tor-based program produces tiny, scalable animations-

perfect for adding interactivity and animation to any Web site.

Flash 2 is the first full upgrade by its new owner, Macromedia, which saw its value for multimedia developers moving to the Web, as well as for animation novices. In chis version, the company added support for sound and for Shockwave technology, and beefed up the bitmap, library and buttoncreation features.

The key to Flash 2's magic is that, like Adobe Illustrator files , its movies are vector-based, not bitmap-based as animated GIFs are. Vector drawings are described mathematically, not in pixel data, so they are much smaller chan bitmapped images and you can easily scale them up or down, with

and small file sizes. Symbols are master elements, which you store in a library and link any number of times in the movie. In Edit Symbol mode , the interface looks much like the main interface, and anything you can do there , yo u can do here: draw, add layers, enter text, embed other symbols and create groups and animations. Symbols dramatically reduce file sizes because the movie includes the complete description of a symbol only once, for the master element; the links are mere references to this description . Groups also help speed editing; as the name implies, you can group any number of components-including other groups, individual elements, symbols and text-and edit or animate them as one.

Because they are a special kind of symbol, buttons are espe-

thing you'll notice about Flash 2's drawing tools is the lack of Bezier curves; you simply draw freely, as you would on

cially easy to create in Flash 2 (see Figure r), and the resulting file sizes are impressive. In our example, the Shockwave Flash file size is a mere 5KB; in contrast, the same file exported as animated GIF is 7I KB, and as QuickTime, I09KB. But neither animated GIF nor QuickTime allow button interactivity-changes in color or shape when the mouse rolls over or clicks on it, for instance; right now the only other

paper. Curve-smoothing and line-straightening options help non-artists polish their work.

way to add such interactivity is to use Java. (You can see the animation in action at www.soberanis.com/ buttons.html)

If the drawing tools don't suit your needs, you can import

There are more editing options at the frame level, such as

files in many formats, including Macromedia FreeHand and Adobe Illustrator, PICT (Mac) or bitmap (Windows), JPEG , GIF , even AuTOCAD. Export file formats for movies include Shockwave Flash (for streaming playback in Web pages) , QuickTime, Animated GIF and sequences of Illustrator, JPEG , GIF and AUTOCAD. As with any new, self-contained program , the program's interface and functionality take a bit of getting used to.

Flash 2 movies are made up of scenes; scenes are made up of

attaching a sound or an action. One great option is the interpolation of frames, called tweening. When you want an element to move from one point to another in, say, ten frames, you simply place it at the starting point in frame one, place it at the ending point in frame ten , and set the first frame to Tweening. The program automatically copies the element and adjusts its positions in frames two through nine so it appears to move smoothly between the starting and ending points.

Instant animation!

individual images or frames; and frames can have many layers, levels and overlays. The interface consists of two sec-

Those new to the program can get up to speed in about a day through the series of eight lessons in the Flash movie

little or no loss in crispness or clarity.

Although you can import and animate bitmapped images into Flash 2, it's best to stick with vector drawings, which are most easily created and edited in Flash itself. The first

178

Key elements of a frame are symbols and groups, each of which aid efficient editing

PH 0 T0 GR APH Y

A

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UAL

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From drawing techniques to button creation to animation tips, they'll orient you enough to create simple animations, export them as Shockwave Flash files and drop them in your HTML pages (Web visitors need the included Shockwave Flash plug-in to view them). But for more complex animations, such as the sample movies included with Flash 2, you'll need to spend a lot more time with the program.

The three-part documentation-the lessons, user guide and the online Help file-leave much to be desired, unfortunately. The three are not well coordinated, terms mentioned in the lessons, for instance, cannot be found easily in the user guide or the online Help. The lessons include important information that isn't easily found in the other two documents-yet there's no way to save a frame 's text, and

at Creative SourceWeb.

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You can quickly become productive and add interactivity

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Nevertheless, Flash 2 is well worth adding to your toolbox.

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without programming, and file sizes can be as small as 3KB. And the price is right-even without considering the CD-ROM full of sample Flash 2 files, clip art, animations and sounds.

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180

P H 0 T 0 G R A P H Y

A N N U A L

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Photoshopn

Collage Techniques

Books PageMill 2 for Macintosh: Visual OuickStart Guide

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By Maria Langer 256 pages, paper, $16.95 Published by Peachpit Press 2414 Sixth Street Berkeley, California 94710 PageMill, Adobe's WYSIWYG Web authoring tool, and the Visual QuickStart series from Peachpit Press are a perfect match. Both emphasize ease of use and an intuitive approach, and both are intended for beginning and intermediate users . In partieular, PageMill2 for Macintosh's excellent organization and accurate writing can indeed "get you up and running in no time " with PageMill 2.

PageMill 2 for Macintosh because

As with all QuickStart books,

it explains the many new and

though , more important is th e

nee d to know early on, for

sophisticated features in the

way it covers these topics.

instance- and not in an easily

latest version of the software.

Shaded "tabs" on the edge of

missed tip on page 40-that

In particular, PageMill 2 now

each page tell you exactly what's

HTML ignores tabs and extra

supports tables and Netscape's

on that page, providing very

spaces. Otherwise, they might

frames , two HTML features that

quick takes on cross-references

think it's PageMill's fault that

have quickly become mainstays

or specific production tech-

the multilevel outline they cre-

in Web page design .

niques . You can begin with

ated in Microsoft Word lost all

PageMill 2 also covers text edit-

page one if yo u're completely

its indents when th ey pasted

ing and formatting, page struc-

new to Web design or, if yo u

it into a PageMi ll page and

cure, multimedia objects, links,

already know PageMill 1, yo u

opened th e page in a Web

forms and even testing yo ur

can skip to chapters on the new

browser. My guess is that Langer and Peachpit (and perhaps

pages. In each case, author

PageMill features.

Maria Langer provides brief

On each page, all screen shots

background information and

are in one column and all text

then takes you through the pro-

in the other. Rather th an the

gram's functions, step by step.

graphics playing a supporting

Appendices visually display

role to the text, each is intended

every menu, shortcut key, bur-

to stand alone as well as sup-

ton and icon in PageMill 2's

port the other. So yo u co uld

Adobe) feel that such information would scare novices awayan unfortun ate philosophy, beca use th e hand-holding QuickStart series is an excellent forum for introducing such basic and important concepts.

interface, as well as a list of

follow just th e screen shots

All in all , PageMill 2 for Mac-

Even if you've worked with

all HTML tags supported by

and explanatory captions, jump-

intosh goes hand-in-glove with

PageMill I, you'll benefit from

the program.

ing to the related text in th e

PageMill 2 itself. With clear

next column only when yo u

writing, tight structure and

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need more detail. Or you could

pl entiful examples, the book is

proceed the more conventional

an excellent WYSIWYG man-

way, starting with the step-by-

ual for th e popular WYSIWYG

step text and looking at the

Web tool.

graphics when the text points

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P H 0 T 0 G R A P H Y

A N N U A L

I

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-PAT SoBERANIS

yo u to them.

It's not easy to write in this format, but Langer seems perfectly suited for it-as witnessed by

Getting Started with Multimedia Design

tion to detail is evident in the

By Gary Olsen 144 pages, paper, $29 .99 Published by North Light Books 1507 Dana Avenue Cincinnati, Ohio 45207

thorough instructions, plentiful

One of the more interesting

tips, simple examples and logical

books about multimedia design

organization. H er empathy for

to appear in a long time is

beginners is evident as well;

Getting Started In Multimedia Design. A media designer at

the fi ve previous QuickStart

182

most out of PageM ill. They

books she's authored. Her atten-

whenever yo u start feeling disoriented by new concepts such

Hardie Interactive, Gary Olsen

as URLs, she tells yo u not to

obviously has been in the indus-

worry: "I tell yo u abo ut U RLs

try for years, seen it grow and is

in Chapter 7 -" Flip to Chapter

now in a position to offer his

7, and voila! -a section called

hard-won advice. The book

"About U RLs."

begins with a brief overview of

I have one small quarrel with

th e principles of multimedia

the book: Even technophobic

design , discusses some tech-

novices, I beli eve, need to

niques for expanding one's

understand the capabilities and

skills-including continued

limitations of HTML to ge t the

study at the university level-

and then covers bas ic hardware and software iss ues. ~

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cess of inform ation d es ign.

The book is designed to be read

In th e n ext several ch apters,

in sm all chunks a t a tim e.

Olsen's book tracks th e multi-

Chapters are short, yet do a

media production process, and

good job of covering the bas ics.

that's truly valuable. Separate

Text is reli eved w ith th e fr e-

chapters are devoted to building

quem use of sidebars, full colo r

the multimedi a project team ,

illustrations and sc ree n grabs

managing the process and riding

from c o -RO Ms and Web sites.

h ard on th e budge t and tim e-

"Reali ry C hecks" deliver a fro m-

pointing out salient features in

and co mpensation, a review of

th e illustrations. In less than 144

the costs per thousand impres-

pages, this book co mmuni cates

sions for banner ads, or a bot-

some o f the most important

to m-line analysis of what a ryp-

strategic design issues in multi-

ical Web site really costs. Web

m edi a without ge tting bogged

& New Media Pricing Guide is

d ow n in le ngth y " h ow- to"

less than this, and m uch more.

details. T here are plen ry of 500page m anuals that ca n do that.

W h ile there is a chapter called Rates and Pricing that provides

-SAM M cM ILLA

de tailed surveys that will tell

line. Read ers w ill follow the

the- trenches elabo ration on the

yo u wh at yo u are worth (and

process, creating the informa-

straightforward text in the m ain

what to charge) if you are a

tion architecture, preparing the

sec tions of th e book. Profiles

Web & New Media Pricing Guide

freelan ce r, co nt ractor or a full-

graphics for multimedia proj ects

a nd accompanying portfolios

and finally beta testing and prep-

enable readers to learn about the

ping a fin al m aster fo r duplica-

kinds of individuals and com-

tion. For newcomers to the field,

pani es working in the industry

By JP Frenza and Michelle Szabo 295 pages, paper, $40 Publ ished by Hayden Books 201 W. 103rd Street Indianapolis, Indiana 42690

Olsen provides useful inform a-

and view a few choice captured

G rea t book; terrible titl e. Pick

tim e employee, most of this book is really devoted to starting and managing an interactive multimedi a production business.

An d in th at g ui se, this book

tion including sample contracts,

screens from a selected project.

up Web & New Media Pricing

provides tremendous value. Here

storyboard templates and flow

Numbered callouts and captions

Guide, and you might expect to

are real budgets, real proposals,

diagrams that illustrate the pro-

explain the graphics in depth,

find a dry index of job titles

real case studies that discuss the

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costs of production from initial

son, a CGI programmer, and others working round the clock"

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and get results. Did you know

Throughout, the authors focus on real-world scenarios with examp les drawn from their working experience, and in derailed case studies. Read

Image Cataloging

companies burn out like roman

that the first thing people look

webimage97, from dataOisc

candles after one big project.

for on a newsletter is their name?

promises to simplify cataloging

Thanks to the practical advice in Web & New Media Pricing Guide, you can make sure it won't happen to you.

Elaine Floyd does, and advises

and finding images downloaded

your mailing address labels include interesting typographic

from the Web. Point it at your hard drive cache and web-

effects to draw readers in. Several

image97 does the rest, indexing

chapters bring the newsletter

images with up to sixteen

into the electronic age with

searchable fields, creating

between lines like "the com-

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thumbnail views and even pro-

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viding zoom capabilities. A 30-

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covers everything from strategic

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element in the visual layout and

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design can be used to support

Web developers can now create

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newsletter and how to design

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Briefly Noted:

would have a break-even point

1-1

n C/'J 0

~

1-1 (')

n C/'J

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at $350,000 and yo u can get a sense of the anguish involved in making these projects, and why so many companies fail from financial mismanagement. Then

marketing efforts to how each

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188

P H 0 T 0 G R A P H Y

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I

9 9 7

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Branding: A Uniquely American Phenomenon

BY VERONIQUE VIENNE

T

hese days, most Europeans look up to American

to Francis Bacon, Copernicus, Galileo and Descartes ,

culture with a mixture of awe and anguish. The

Europeans believe that selling images is something in the

increasing ubiquity of American brand names in their lives makes them feel leery. My twenty-something

order of idol-worshipping- a practice for heathens, savages and fetishists. Three-hundred years of Rationalism has

French niece, for instance, works on a Power Macintosh,

taught them to celebrate reason, not emotions. For them,

subscribes to America Online, watches CNN, uses a Visa

Coke is a beverage. The subliminal message compressed

card, buys Calvin Klein fragrances, wears Gap jeans and

into the visual symbolism of the ubiquitous red swirl silk-

thinks it's cool to meet friends for ice cream at the Haagen-

screened on the can makes no impression on them. Or at

Dazs cafe on the Champs Elysees. She gets annoyed,

least that's what they would like to think.

though, when I point out to her that these brands, which help define her self-image, are in fact American creations.

For her, U.S. brands are the medium, not the message.

I noticed that it's usually the European kids with the Levi's jeans, the Ralph Lauren T-shirts and the Nike sneakers who are the most anxious about this new form of cultural colonization. They sure love American products-but they distrust the tidings that come with them. When asked what it is exactly that they like or dislike about them, they make a face, bite their lips, cross their arms on their chest and look down at their shoes. They won't tell. It's something way beyond your average love-hate relationship-it's more like a fatal attraction.

194

The one thing Americans understand better than anyone else on this planet is how to create desires for things no one needs or even has time to use.

It comes as no surprise that European brands are a lot more demure than American ones. But so what. We'll still have Paris, right? Well, maybe not. As multinationals are taking control of the playing field, even the City of Lights is starting to look like an American suburban mall.

Local brands cannot protect their territory against the likes of IBM, Philip Morris, Procter

American culture has always made Europeans nervous, but

& Gamble, Colgate Palmolive, Paramount Pictures , Mattei

these days, with the unification of Europe becoming a com-

or Disney-or even against smaller American image mer-

plex reality, there is a different quality to their trepidation.

chants like Ralph Lauren, Gap or Donna Karan, relative

For Europe, America is both a role model and a warning.

newcomers to the Euro scene. There are few notable excep-

It's the thing you want to emulate-and it's the thing you

tions, such as French cosmetics giants Lancome or Chanel,

want to avoid.

that have developed American-style branding strategies in

My niece does not object to the quality, the design or the

order to compete in the States among U.S. rivals like

taste level of the American goods she buys. In fact, she loves them. We've come a long way since the days of the "ugly"

Lauder or Revlon.

Who would have guessed that, as the dust settles at the end

American. The <esthetic values of most of the products and

of this American century, marketing-not literature, pop

advertising campaigns from U.S. companies are just as sophis-

art, movies, music or even television-would emerge as the

ticated and just as smart as anything that comes out of

defining medium for this entire nation. Today, the real

Italy, England, Spain, Holland, Germany or France. What

American folk heroes (or villains) are not the John Waynes,

annoys my niece about American products versus let's say

James Deans or the Liz Taylors of the silver screen, but the

German products, is their emotional context. The stuff is

Nike ads, the Coke commercials, the Lion King toys, the

more than simply stuff-it's a concept, it's an attitude, it's

Barbie Dolls wearing Calvin Klein outfits-and the gaunt

a value system. In other words, it's a brand.

Calvin Klein models themselves. As far as the world at large

Branding a product and marketing its brand above and

is concerned, that's what this country is all about. Not

beyond the product itself is a uniquely American concept-

people, but logos. Not principles , but trademarks. Not

one that isn't popular on the other side of the Atlantic. Heirs

democracy, brands.

P H 0 T 0 G RAP H Y

AN N U A L

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9 9 7

The Mao Q)S Report Number two in aseries- the facts about Mac OS 8

Mac OS 8 is coming. It will give you, and millions of other Macintosh"users, a whole new way of working.

It will give your Apple" Macintosh computer (or, for that matter, anyother ....__.

Mac OS computer of your choice) a dramatic new look and feel, along with all kinds of enhanced capabilities for accessing the Internet.

It will also set an entirely new standard of powerful, intuitive computing- a standard the competition can try to catch up to. (Again.)

A new way of working The moment you start using Mac OS 8, you'll feel the difference: you'll find yourself accomplishing more in les time. Amulti-threaded Finder"' lets you execute multiple tasks simultaneously, such as launching applications and copying files. Mac OS 8 includes new informationmanagement tools, such as contextual pop-up menus and spring-loaded folders, that give you quicker and easier access to all your information. Ascalable environment lets you either limit your menu and window options, or expand them- whichever works better for you. Anew, dimensional look makes the interface more dynamic and engaging than ever. And Mac OS 8 also includes the latest versions of QuickTimt with its MPEG support, QuickTime VR and QuickDraw 3D. How easy is it to get going with all these new technologies and features?

Very. Because our new installer and setup assistants take you through each step of configuring your new system

software. Once you're up and running, PowerPC"'-native code improves your performance. Mac OS 8 is also completely compatible with all PowerPC and 68040-based hardware and software.

A new way of accessing the Internet Mac OS 8 includes TCP/IP and PPP for easy network or modem access direct from the Finder. You get Netscape Navigato( Microsoft"Internet Explorer"'and the PointCast Network~ And a new Internet Setup Assistant makes it easier than ever to get on the Net,whether you're doing it from home with a modem or from work with a highspeed connection. Personal web sharing is standard, so you can turn anyMac into ~ an Internet web server. ,._.JM..,....u..t... •••,_•...,_,. ,-rJ.' .,,..,_.......

J.s.wct . ............., 2. ................,.........

And Java"' support is J. ...,... ........ c.!:·:::::.. ,...... built in, so you can run - - · - - --::-.... C55J Java applications just . .k . . . ._ , . . MM It$ e ... t ...tiM ......-

.

wNt

.,._.,esa.

..,....tk:.... ~,

Ifyou want to use Netscape Navigator to browse the Net, you'll like this: it's an integrated part of Mac OS 8.

ii ln.t..e.rM1

Explorer

Microsoft Internet &plorerfans will be happy to know that Ibis powerful web browser is also built right in. Choice is just one ofthe many Mac OS 8 mottos.

R

PolntCast· It's the PointCast Network. It comes u·ilb Mac OS 8. And it grabs tbe news you want direcl/y off /be Net to cret1/e customized desktop news pages. Daily.

Hourly. As often as you want.

as though theywere anyother desktop applications. (If you were wondering, Windows"95 can't do this.)

And more advancements are on the way Mac OS 8 is one of the most significant advances in OS technology ever. And it's just the beginning- additional upgrades are planned. And our support for the Mac OS will continue for years.

At the same time, we're also working on an industrialstrength OS, code-named Rhapsody, that will offer features such as protected memory, preemptive multitasking and symmetric multiprocessing. Rhapsody will also provide backwards compatibility, so you can be sure that the vast majority of your Mac OS apps will run on Rhapsody, too.

In other words: Apple is still developing the most innovative, user-friendly and consistently superior products on the market. Thats one part of our system that won't change. Th learn more,visit www.macos.apple.com.

Wben you get Mac OS 8, you also get built-in jam support, so you can run both local and uetwork-based java software just like otber desktop applications.

Mac OS Mac OS bas altmys been tbe easiest and most intuilitJe ofall operating systems. Note, Mac OS 8 brings Ibis kind of computing to a wbole 11ew level.

© 1997 Apple CompuU>r. Inc All r~ghls resertwl Apple. /he Apple logo, Mac, Macinlosh, the Mac Q'i logo, f)uickiJrmll and Qwcil1rme are regislered lrademarlis ofAfiple Computer, Inc Finder is a trademark ofApple Computer. Inc. PowerPC is a trademark of International Bu,·ine:;s ,!/achmes Corporalicn. used under license therefrom. jam and the jam logo are lrtKiemarlls ofSwz Micros;~tems, Inc. Microsoft and lflndou~ are registered tmdemarks and In/erne/ flxplorer and the In/erne/ E:cpwrer logo are lrademarlis of Microsoft Corporation. Nelscape !ltwiga/1)1' anti /he Ne/sca{le .l{u;galor logo are lrtitlemarils of Netscope Communicalicns Corporation. 7be Pain/Cas/ !l'etuwk and /he l'oiniCtiSI Network logo are lradenwrlls of l'om/Casl, Inc.

Too many brands, too little time. The one thing Americans understand better than anyone else on this planet is how to

dromedary taken when the circus happened to pass through Winston-Salem in 1913. During the photo shoot, "Old Joe,"

create desires for things no one needs or even has time to

as the beast was called, wouldn't keep still, so his trainer hit

use . They make it almost impossible for folks to be satisfied

him on the nose-thus the outraged look and the raised tail

with what they already have. They don't simply ignore other

of the one-humped mammal on the package. The genius of

people's cultures and traditions-they make the very con-

the marketing team at Reynolds Tobacco was to exploit this

cept of history obsolete.

incident, turn it into a major component of their brand and develop a consistent stream of imagery to support it.

To distance yourself from your past, develop brand awareness. The Cambodian priest who sips from a can of Pepsi,

Like Joe Camel, the most resilient American brands are

the Chinese toddler wearing a Joe Camel sweatshirt and the

living entities . The story of Levi's, a beloved American

Iranian youth with the Converse sneakers are deliberately

brand if there ever was one, is a twisted yarn-no pun

trying to break away from their traditions. The right logo embossed, silk-screened or stitched on a piece of goods

intended. The concept was twenty years in the making before receiving its first patent in 1873. Levi Strauss, an immigrant

becomes the official stamp on a new passport that gives you

from Bavaria, began selling denim jeans in California dur-

permission to put your identity as consumers before your

ing the Gold Rush in the early 1850s. What made his pants different at first was the fabric, a sturdy imported twill.

national pride.

Still, that was not enough to make them distinctive. In r86o, The increasing pervasiveness of American brands in Europe

touch on his product: a double arc stitched on the back pock-

Economic Community (the EEC) are ready to let go of

ets with orange thread. Only then did it all come together.

their most jingoistic instincts in order to come together

Only then did Levi Strauss & Co. become a brand.

as one united tribe. In The Americans: The Democratic Experience, author Daniel Boorstin tells how, 200 years ago in America, the development of commercial trademarks helped create a coherent culture. Back then, brands gave immigrants who had nothing in common a shared medium.

He notes that brand names "drew together in novel ways

The powerful supermarket brands of today all have humble origins as well. They were created by people who needed easy solutions to everyday problems. Band-Aid came about when the young wife of a Johnson & Johnson employee kept burning her fingers on her kitchen stove. Her husband sat down one night and devised a bandage even a klutz could

people who might not otherwise have been drawn together

apply. The Gerber Baby was born in Fremont, Michigan, in

at all. .. The particular importance of American consumption

1928, a couple of months after Dan Gerber's own baby was switched to solid food.

communities made it easier to assimilate, to 'Americanize' the millions who arrived here since the Civil War." The branding phenomenon sweeping Europe today is not

Dr. Pepper was the name of the father of the inventor's sweet-

unlike the phenomenon that helped create a sense of com-

heart. Wade Morisson, a young pharmacist from Virginia, named his soda fountain experiment after his fiance's dad ,

monwealth among American pioneers. There is one important

in a vain attempt to win the old man's approval.

difference though: The new Europeans are more likely to rally around an American brand than around one of their

Ivory Soap was a gift from Heaven: Harley Procter, from Procter and Gamble fame , was sitting in church listening to

many local favorites. It's a lot easier for people of different

the minister's sermon one Sunday in 1878, trying to come

backgrounds to love-or hate-Big Macs than to combine

up with a name for his new white soap, the one that's "so pure, it floats," when he heard the preacher's words: "Our

the subtle flavor of French "Papillon" blue cheese with a sip

196

he added the rivets. But it was in 1873 that he put the final

is probably a sign that future members of the European

of Italian "Barolo" red wine.

of the ivory palaces ... whereby they have made thee glad. "

Unlike European brands that demand prior understanding

America's most popular soap was named after Psalms 45:8.

of the local cultural moire to be appreciated, American

Aware of the powerful impact of the anecdotal, American

brands are simple narratives based on universal emotions.

marketers today create fantasy narratives for their brands ,

Take Joe Camel, for example. Where did he get that insolent

deliberately incorporating odd, trumped-up biographical or

and haughty temperament that appeals to smokers with a

historical details into the symbolism and iconography of

rebellious mindset? It was purely accidental. The original

their visual vocabulary. Their methodology combines an

logo was drawn from a photograph of a Barnum & Bailey

intuitive approach with daringfoux rationalization-in ways

P H 0 T 0 G R A P H Y

A N N U A L

I

9 9 7

that would make Descartes and his cohort of enlightened philosophers and historians turn in their graves.

and ;esthetic judgment. For him, flying PanAm was a profound reality that had nothing to do with my linear view

The ambivalence of European consumers toward marketing in general and brands in particular is directly proportionate with their high-concept of historical accuracy. One of the biggest brand success stories in Europe is probably Chanel, a fashion empire based on a minor historical character who has been cleverly marketed into a legend.

of the facts.

Maybe it's time we drop our Encyclopedia Britannica approach to culture and adopt a deliberately revisionist view of

history. For more and more people, traditional analysis of data does not tell the whole story any longer. Recently, a friend of mine mentioned that he was flying down to Miami on

Next time I go to Paris, my hometown, I will go to the faux-Danish Haagen-Dazs cafe on the Champs Elysees and I'll have a scoop of the same Vanilla "Swiss" Almond ice cream I can get around the corner from where I live in Brooklyn. The brand originated in the Bronx, the brainchild of a Polish immigrant called Reuben Mattus. Across the Parisian avenue is the hugely popular McDonald's restaurant-"Mackdo," as the French call it-a far cry from the original 1954 hamburger stand in the San Bernadino valley, a profitable little business owned by two Scottish brothers.

PanAm. "You aren't flying on PanAm," I said sanctimo-

So, this is Europe for you. America? It's the place to go to

niously, "you are flying in an airplane with the old PanAm

get permission to re-invent the past. •

logo painted on its tail. Don't be fooled: a small airline just

Editor's Note: Vironique Vienne is master ofher passionately insightful voice. She came to America as a grown woman and retains well the detached, articulate perspective which ultimately provides this article's validity.

bought the right to use the logo." I felt smug, but the look of chagrin on his face made me wish I had kept my mouth shut. In our day and age, you don't belittle someone's brand.

-DK HoLLAND

It's like denigrating his or her family values, belief system

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

A R T S

197

License of Electronic Rights

BY TAD CRAWFORD

The following article is an excerpt from the newly revised edition of Business and Legal Forms for Photographers by Tad Crawford to be published by Allworth Press in August.

I

License of Electronic Rights Agreement as of the _ _ day of _ _ _ _ , 19 _ _ , between-- -- - - -- - - -- located at _ _ __ _ _ _ _ __ _ _ _ _ _ __ __ (hereinafter re ferred to as the "Client") and _ _ _ __ _ _ _ __ _ _ _ ,located at _ _ __ _ _ _ __ _ __ _ __ _ (hereinafter referred to as the "Photographer") with respect to the licensing of certain electronic rights in the Photographer's photograph(s) (hereinafter referred to as the "Work ").

f there is one striking change in the world of photography since

1. Description of Work. The Client wishes to license certain electronic rights in the Work which the Photographer

Business and Legal Forms for Photographers first appeared in 1991, it is

has created and wh ich is described as follows : Title._ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ Number of Images_ __ __ Subject matter_ _ _ _ _ _ _ __

_ _ _ _ _ __ _ __ _ _ _ _ __ _ __

the growing importance of electronic rights (electronic works being d igitized versions that can be stored or retrieved from such media as computer disks,

Form in which work shall be delivered

0 computer file (specify format _ _ __ _ __ __

0 original transparency (size _ _ _ _ )

D dupe (size _ _ __ )

2. Delivery Date. The Photographer agrees to deliver the Work within _

CD-ROM, computer data bases, and

_ days after the signing of this Agreement

3. Grant of Rights. Upon receipt of full payment, Photographer grants to the Client the following electronic rights in the Work:

network servers).

For use as. _ __ _ _ _ __ _ _ _ _ _ _ __ _ _in the _ __ _ _ _ _ language

Photographers have always stood to

For the product or publication named _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ __ _ _ __ In the following territory _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ __ _ _ _ _ _ __

profit by not giving up all rights when

For the following time period _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ __ _ __

deali ng with clients. This has been

For display purposes only without permission for digital copying by users of the product or publ ication unless specified to the contrary here _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ __ _ _ _ __

the reason that the battle over work-

With respect to the usage shown above, the Client shall have nonexclusive rights unless specified to the con· traryhere _ _ _ _ _ _ _ _ __ _ _ _ __ _ _ _ _ _ _ _ _ __ __ _ __

for-hire contracts has been fought with

Other limitations._ _ _ __ _ _ _ _ _ _ _ __ _ _ _ _ __ _ _ _ _ __ __

such ferocity in contractual negotiations,

If the Client does not complete its usage under this Paragraph 3 by the following date_ _ __ _ __ _

legislative proposals and litigation.

all rights granted but not exercised shall without further notice revert to the Photographer without preju di ce to the Photographer's right to retain sums previously paid and collect add itional sums due .

The desire of users for extensive rights must constantly clash with the desire As work-for-hire offered the most potent

4. Reservation of Rights. All rights not expressly granted hereunder are reserved to the Photographer , including but not limited to all rights in preliminary materials and all nonelectronic rights . For purposes of this agreement, electronic rights are defined as rights in the digitized form of works that can be encoded, stored , and retrieved from such media as computer disks. CD-ROM, computer databases, and network servers.

path for users to gain all rights (includ-

5. Fee. Client agrees to pay the following :

of creators to give only limited rights.

ing rights which such users had no

$_ _ _ _ for the usage rights granted.

6. Additional Usage. If Client wishes to make any additional uses of the Work, Cl ient agrees to seek permission from the Photographer and make such payments as are agreed to between the parties at that time.

intention or ability to exercise), so electronic rights have become the latest frontier where users seek to extend their domains at the expense of creators.

The License of Electronic Rights is to be used for works which already exist

that the client did not actually need,

control and sharing of income, so elec-

(the Assignment/Estimate/Confirmation Form would be used for works to

that photographer then becomes the potential beneficiary of income from

tronic rights may someday find similar clarification and customary allocation.

be specially created for a client) . This

further sales of the work to other users.

Today that crystallization is far from a

form seeks to maximize the opportuni-

The distinction between electronic

ties of the photographer for residual

and nonelectronic rights is important

reality. In addition, the constant evolution of new storage and delivery media

income. To use this form, of course,

enough to justify a separate form for

for electronic works (most recently the

the photographer must first limit the

electronic rights. Just as traditional

Internet) means that definitions must

rights which he or she grants to the

rights have come to have generally

also be adaptable and constantly scru-

first users of work. Assuming the pho-

accepted definitions and fami liar divisions between creators and users as to

tinized to ascertain accuracy.

tographer has retained all usage rights 198

P H 0 T 0

G R A P H Y

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9 9 7

An electronic work might first be a com-

CALL

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are being granted, it is important if

then incorporated into a multimedia

possible to try to lim it the form of the

Fill in the date and the names and

product (along with text, video, and

final use (such as CD-ROM) and whether

addresses for the client and the pho-

a sound track), then uploaded to a site

consumers can make copies (as is pos-

tographer. In Paragraph I describe the

on the World Wide Web, and finally

sible with material on the World

work in detail and indicate the form in

downloaded into the computer of some-

Wide Web).

which it will be delivered. In Paragraph

just as traditional rights have come to have generally accepted definitions and familiar divisions between creators and users as to control and sharing ofincome, so electronic rights may someday find similar clarification and customary allocation.

specify the limitations as to which rights

one cruising in cyberspace . Such digital

2 give the delivery date. In Paragraph 3

potential for shape-shifting makes contractual restrictions both more challenging to engineer and absolutely essen tial to negotiate. The License of Electronic Rights is designed for when a potential user approaches the photographer directly to use work that has already been distributed. T h at previous distribution might have been in traditional media or, as is becoming ever more likely, in electronic media.

One key point addressed in the form is the narrow specification of the nature of the usage as well as the retention of all other rights. When electronic rights

200

Filling in the Form

puter file, then transmitted as e-mail,

P H 0 T 0 G R A P H Y

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are granted, including the nature of the use (magazine, book, advertising, CD-ROM, etc.), the language, the name

of the product or publication, the territory, and the time period of use. In an unusual case, the usage might be specified to be exclusive. Also, give an outside date for the usage to take place, after which the right will terminate.

Indicate whether consumers may copy the work, or whether the electronic rights granted are for display (viewing but not copying) use only. In Paragraph

5 give the fee. If alteration of the work

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is permitted, give guidelines for this in Paragraph 7· In Paragraph 8 give a 7. Alteration. Client shall not make or permit any alterations. whether by adding or removing material from the Work, without the permission of the Photographer. Alterations shall be deemed to include the addition of any illustrations . photographs, sound, text, or computerized effects, unless specified to the contrary here_ __ __ _ __

monthly interest charge for late payments. In Paragraph 9 specify the reimbursement value for original trans-

8. Payment. Client agrees to pay the Photographer within th irty days of the date of Photographer's b illing, which shall be dated as of the date of delivery ol the Work . Overdue payments shall be subject to interest charges of _ _ percent monthly .

parencies that are lost or damaged.

Specify in Paragraph ro wheth er the

9. Loss, Theft, or Damage. The ownership of the Work shall remain with the Photographer. Client agrees to assume full responsibil ity and be strictly liable as an insurer for loss, theft , or damage to the Work and to insure the Work fully from the time of shipment from the Photographer to the Client until the time of return receipt by the Photographer. Client further agrees to return all of the Work at its own expense by reg istered mail or bonded courier wh ich provides proof of rece ipt. Reimbursement for loss, theft , or damage to any Work shall be in the following amount: _ _ _ _ _ __ _ _ _ __ _ _ _ __ __ _ _ _ __ _ _ _ __

photographer will receive samples. Show in Paragraph II whether copyright notice must appear in the photographer's

Both Client and Photographer ag ree that these specified value(s) represent the fair and reasonable value of the Work. Unless the value for an original transparency is specified otherwise in this paragraph, both parties agree that each original transparency has a fair and reasonable value of $1 ,500 (Fifteen Hundred Dollars). Client agrees to reimburse Photographer for these fair and reasonable values in the event of loss , theft , or damage .

name and in Parag raph 12 whether authorship credit wi ll be given. In Paragraph 14 specify who will arbitrate

10. Samples. Client shall provide Photo grapher with _ _ samples of the fina l use of the Work.

disputes, where this will be done, and

11. Copyright Notice. Copyright notice in the name of the Photographer 0 shall 0 shall not accompany the Work when it is reproduced .

give the maximum amount which can

12. Credit. Credit in the name of the Photographer 0 shall 0 shall not accompany the Work when it is reproduced .

If the work is used as a contribution to a magazine or for a book, credit shall be given unless specified to the contrary in the preceding sentence .

be sued for in small claims court. In Paragraph 15 give the state whose laws

13. Releases. The Client agrees to indemnify and hold harmless the Photographer against any and all claims, costs, and expenses. including attorney 's fees . due to uses for which no release was requested , uses which exceed the uses allowed pursuant to a release, or uses based on alterations not allowed pursuant to Paragraph 7.

will govern the contract. Both parties should then sign the contract.

14. Arbitration . All disputes arising under th is Agreement shall be submitted to b inding arbitration befo re - - - - - - - - - - - - - - i n the following location--- - -- - - - -- -and settled in accordance with the rules of the American Arbitration Association. Judgment upon the arbitration award may be entered in any court having jurisdiction thereof. Disputes in which the amount at issue is less than$ shall not be subject to this arbitration provision.

Negotiation Checklist To limit the grant of rights, carefully specify th e type of use , language,

15. Miscellany. This Agreement shall be binding upon the parties hereto, their heirs, successors, assigns , and personal representatives . This Agreement constitutes the entire understanding between the parties. Its terms can be modified only by an instrument in writing signed by both parties, except that the Cl ient may authorize expenses or revisions orally. A waiver of a breach of any of the provisions of this Agreement shall not be construed as a continuing waiver of other breaches of the same or other provisions hereof. This Agreement shall be governed by the laws of the State of _ _ _ _ _ __

name of the product or publication , territory, and time period for the use.

(Paragraph 3)

In Witness Whereof, the parties hereto have signed this Agreement as of the date first set forth above.

Since rights are being licensed in preexisting work, do not grant exclusive

Photographer_ _ _ _ _ _ _ _ _ _ __

Client_ _ -::----:-:--- - -- - Company Name

rights or limit the exclusivity to very By:_ _ _A_ ut-ho-,-riz-ed"""S,...ig-na-to-ry-= , r=,u-.- -- - -

narrow and precisely described uses.

(Paragraph 3) Limit the form of final use (such as a particularly named CD-ROM or si te on the World Wide Web). (Paragraph 3) Indicate whether consumers or end users m ay only see a display of the work or will actually have a right to download a copy of the work. (Paragraph 3)

Negotiate the right of the client to

Ifyou wish to order Business and Legal

change the work or combine the work with other works. (Paragraph 7)

Forms for Photographers in its revised edition, which includes the book plus all

Request samples if appropriate. (Para-

26 forms on CD-ROM, call (Boo) 49I-28o8

graph ro)

or send $24 -95 plus $5 for shipping and handling to Allworth Press, IO E. 23rd

Require the client to use the best availLimit the time period for the use and

able technology to prevent infringe-

specify a date by which all usage must

ments. (Paragraph ro)

sales tax.

be completed an d all rights automatReview the negotiation checklists for

ically revert to the photographer.

the Assignment/Estimate/ Confirma-

(Paragraph 3)

tion Form and the Srock Photography

Reserve all traditional (nonelectronic

Invoice as well as the standard pro-

rights) to the photographer.

visions in the introductory pages . •

(Pa ragraph 4) 202

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Street, Suite 2IO, New York, New York IOOIO. New York state residents must add

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Some Marketing Strategies for the '90s

BY BARBARA GoRDON

I

n a previous column I discussed many of the changes that

dure that is followed at most agencies, whether they're pitch-

have taken place in the freelance marketplace. Since

ing new business or producing ads for a regular account.

writing that column I've been talking to art buyers, art

directors, reps and designers, to get some feedback from their perspective on how today's freelancer can compere

First, the creative group comes up with a concept or idea.

something is on the record, and has to be checked through

In times past, the art director would probably do a rough sketch, of what would later turn into an illustration or photograph, and show ir to rhe client, or prospective client.

Sometimes a comp artist would be used to render a visual.

Without knocking comp artists, rhe visual would be less

a company's public relations or legal department, a lot of

than a perfect piece but the clients would get the idea and

what is said is watered down or omitted entirely, so I'll mention no names. I'll share with you what advertising

would either accept or reject the idea. If it was accepted, rhe art director or art buyer would then hire an artist or

clients would like from freelancers along with a few of

photographer to do rhe project.

effectively in rhis new, evolving marketplace. I spoke with everyone off the record. It's been my experience that once

my suggestions on how a freelancer can satisfy some of rhose needs.

Now, rhe same basic procedure is followed, but with one big

who can accomplish one or both of these objectives is ahead

difference. Instead of a comp artist or art director doing a rendering, a visual is usually scanned from a portfolio or a source book to present to a client in layout form. Sometimes agencies get permission to do this and sometimes they

of rhe game. Let me start by discussing a typical proce-

pay for it and sometimes they do not. (It is not my intention

First of all, rhe bottom line in advertising is char everyone is looking to save time and money and the freelancer

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

A R T S

205

to discuss this practice, or the copyright issue, here and

portfolio and do their own negotiations regarding pricing

now.) Anyway, now the client is presented with a finished

and royalties of that portfolio.

piece, complete with art or photography. If the client falls

One of the other areas that kept coming up, especially with

in love with the visual (and they often do) the agency must

agency art buyers, was that clients carefully scrutinize, not

try to get the artist/photographer to produce something that

only the competitors' ads, but all advertising and often the

may have been done for another client, or may have been

clients contacted their agencies to say, "Why can't we get

done four or five years earlier and the artist/photographer

the artist or photographer who's doing the XYZ campaign? "

has progressed a long way since then. Essentially, it is almost impossible to reproduce an exact image for the client.

of the artist or photographer doing the XYZ campaign and

If the agency is pitching new business then any visuals they

it can take a lot of time and energy to track down the name

use have to be paid for by the agency, and if they do not get

and number of the freelancer doing the work.

the account, then they have to absorb the expense. If the visual is not available then the agency will try to commission a similar one. If it is available then the agency may try to get rights to the existing visual at stock prices. However,

One knowledgeable art buyer told me, "If I was a freelancer I would take from $500-$r,ooo less on an assignment if I could get my name listed on the ad. It's almost like free publicity if you consider how much it would cost to purchase

many agency people told me that in the best of all worlds

the space in which the ad is running. Taking cuts on your

they would like to have access to the existing visual, but

fee is a small price to pay to give access to the many poten-

have that visual digitally manipulated to their client's needs.

tial clients out there who would watch for a specific talent

This would surely fit into the agency's agenda to save time

or look. "

and money.

206

Art buyers tell me that often they don't know the identity

This falls into my favorite area of public relations and pro-

If freelancers are interested in pursuing this direction then

motion, but it's a new twist and the art buyer is right , a

they should always be adding to their stock collections and

discount on the creative fee is a small price to pay for attract-

improving their technical expertise so that they can offer

ing new clients. You can't do much advertising or mailing

clients customized stock.

for $500-$r,ooo.

In this area of selling rights to existing work, several agency

Again, in the interest of time management, agency people

people told me that it doesn't hurt to develop an area of

kept telling me stories of freelancers who were troublesome

expertise, i.e., perhaps one develops the largest collection of

to work with. Difficult people use up agency rime and good

art or photography of babies-crying babies, sleeping babies,

will and if they become difficult enough the agency will

happy babies, pretty babies, ethnic babies , funny babies.

look for a substitution, i.e., another freelancer to do the job.

Eventually, you'll build up a clientele that will come to you

It's probably almost impossible for an individual to recognize

regularly because they know that you are a prime source for

when they are being difficult, but if you even suspect that

babies. You don't have to specialize to the exclusion of every-

you are, or if you find that clients use you once or twice and

thing else; you can build a specialty on the side. Sometimes

then turn to someone else, for no obvious reason, then you

you can turn a hobby or an interest into what is called

may want to do some brutal scrutinizing of your client rela-

niche marketing.

tions. If you're not good at client relations then get someone

In my own experience I once represented a fashion artist who

to do it for you. Get a rep-your husband, your wife, your

had an avid interest in plants and on her own time she did

brother-but get someone who is good at client relations ,

accurate, botanical sketches of plants and herbs. Since she

to do this vital function for you.

did them anyway, I had them photographed and promoted

Agencies want to deal with freelancers who tell them the

them as a special item, apart from the fashion illustration

truth, give fair prices , don't lie about deadlines and keep

she did, and sold numerous stock rights as well as royalty

them apprised of what's happening on the job-which to

rights, for artwork that was not part of her regular portfolio.

them "should be the only job you're doing" or at least

This situation is not unique. I often find freelancers who

treated as such.

have avocations that can be turned into another source of

Time and money-it's what clients want to save in the '9os.

income. One final note, I personally think that an artist or

To stay competitive, freelancers are going to have to incorpo-

photographer or their rep should keep control of their stock

rate this into their marketing strategies. •

P H 0 T 0 G R A P H Y

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ERICKSON PRODUCTIONS MARIANNE CAMPBELL

TELEPHONE 415 928 . 5588

TELEPHONE 415 433.0353

FAX 415 928 . 5597 FAX 415 433.0351

Random Pleasant Thoughts

BY ToM MoNAHAN

A

few months ago a CA reader wrote a letter to the editor of this fine publication criticizing my foul mouth and cynical view of the advertising profession. Frankly, this person's opinion of me and my writing, no matter how low, did not disturb me in the least. This individual doesn't really know me. He only knows the voice I use to write this column. An, admittedly, often sardonic voice. Articles such as, "Bill Bernbach is Dead" (CA Sept/Oct '92); "The Radio Wasteland" (CAJuly '94); "Random Hostile

things in the advertising business. (At least for this month.)

And, Patrick, I expect a big, fat raise for this.

Here are all the great, great things about this wonderful, wonderful ad biz.

You know all the great work we see in the media and at award shows and in people's portfolios and on their reels? Some clients somewhere are paying for that. This is absolutely

Thoughts" (CA Mar/Apr '93).

true. And it's absolutely wonderful.

No, this fellow's less-than-complimentary observations did not offend me. But they did get me to momentarily reconsider my role as the semi-regular advertising columnist for Communication Arts. Is it my responsibility to call a spade a spade and point out the places where this business can and should get better? Or is it my role to just talk about all the wonderful aspects of this great industry?

And you know what else about all the great ads we see? Some

All of this got me to thinking. (Flashback music goes here.)

road? The shiny new ones? How do you think the people

Last summer I spoke at The Newspaper Association of America's national marketing conference. My session followed the keynote speech by ad industry icon Jerry Della Femina. Jerry was his usual charming, witty and insightful self, talking about walking eight miles in the snow to get his first job, etc., etc. And when he spoke about the newspaper industry, he spent many colorful minutes telling the

who bought those expensive hunks of metal and technology

wonderful account people somewhere are selling those ads.

True again. Wonderful again. (Two for two.)

Plus, you see all those products sailing off the shelves at Wal-Mart? Some wonderful agencies somewhere are doing ads that work. (Three up, three down. Piece of pie.)

And another thing. You see all those cars driving down the

knew all about them? You got it, advertising.

Think about all the great things about the wonderful ad business.

Think.

Think.

assembled group about just how wonderful their industry is.

(This can't be all the good stuff I can say about the ad biz.

My speech that followed was very unJerry. I spoke about some of the harsh realities in the newspaper business today.

I addressed the dwindling circulation, the vanishing advertising revenues. I acknowledged the fickle reader, the chang-

There's no way Patrick will give me a huge raise if I write

ing patterns of media consumption. I spoke to these people who make a living in the tired and overhead-burdened newspaper business about their need to change their Gutenberg ways, to wake up and smell the remote control and adapt to some dramatic market shifts that have put the very existence of this great news institution in an uncertain position at best, and in great peril at worst.

In that speech I probably used a tone similar to the tone I use in my CA column. But I also did another thing I do in most of my editorial writing. I offered some insights that those too close to the problems likely didn't have. And I proposed some solutions, as well as the means to find more solutions.

(Here's the transition back to the ad biz and my dilemma.)

Jerry Della Femina got paid a heck of a lot more for com-

210

new leaf here at CA. I'm going to write only about the good

less than I,ooo words. Come on, Tom, boy, you can do it.

Think positive.)

I got it. Where would the media be without advertising?

Newspapers would be $20 a copy. Magazines would cost $IOO or more. All TV would be pay-per-view. I mean, do you really want to just watch wrestling for the rest of your miserable life?

And if you had to pay these prices for newspapers , magazines and TV shows and stuff, you'd have to work at least 8o or more hours a week. That's what advertising means to the quality of life in the late 2oth century. It means we can get home at a reasonable hour to see our families and maybe watch a little TV. (Look, advertising supports family values.

No, no one is talking about family values of late. That was last year's golden bullet. But, heck, family values are still on the side of the angels. That means advertising is on the side of the angels. No Sodom. No Gomorrah. Angels.)

plimenting the emperor on his new clothes than I did call-

This business is the greatest business in the free world.

ing it like I see it. Lesson learned. So , I'm turning over a

Do they even have this business in the other world?

P H 0 T 0 G R A P H Y

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Look at all the smiling babies in ads these days.

ture, and our culture sees us. Marshall McLuhan was right.

Look at all the old people who look young in ads.

The Marlboro man. Mars Blackmon. Fred, the donut guy.

Look at all the animals who can now talk and sing thanks to advertising's clever use of advance post-production technologies.

"Where's the beef? " Mac attack. Herb.

Look at all the '6os rock stars who will eat tonight having sold the rights to their music to producers from Venice Beach to downtown Manhattan.

Pearl Harbor. The Hidden Persuaders.

Director's cuts. Mac versions. Pro bono jobs.

Claude Hopkins. David Ogilvy. Darren Stevens.

four easy payments of $29 .

Three-martini lunches. Running it up the Bag pole. Shooting on the coast.

Do you love this business or what?

Fifteen percent commission. 17.65 markup. Capitalized

Look at all the flying exercise machines you can now own for

(From this point on, it's probably best if you hum "The Battle Hymn of the Republic" while you read these words.)

Think of all the three-button sports jackets that will be sold during awards show season.

Think of all the four-button sports jackets.

Think of all the people rushing back and forth across the street in the garment district pushing three-button and four-button sports jackets on big metal racks with rickety casters. Advertising contributes to the gainful employment of literally hundreds of garment rack pushers.

Think of all the silver polish for all these pencils and lions and Andy heads and Clio statues, and all that cold cash from the Kelly Awards. Where would the silver polish industry be without the wonderful, wacky advertising profession.

Think of the Mac. Would anybody own a Mac today if it wasn't for these loyal consumers in the ad world?

Ah, the ad world. Has a great ring to it, doesn't it? We have our own world! Like Disney World! And Water World! And Taco World!

billings.

"It isn't creative unless it sells." "How big can we get before we get bad?" "The battlefield is in the consumer's mind. " Credentials. Spec pitches. Making the short list.

Come in late. All nighters. Little jots of brilliance on cocktail napkins.

FedEx. Fax. E-mail.

Country club memberships. Limos to the airport. "Get the client's kid a job for the summer. " Creatives/ suits. Tactics/ strategy. Pizza/ Chinese.

Downsizing. Reengineering. The virtual office.

"We resigned the account for creative differences. " "We'll fix it in post! " "They want it when?! " (Drum roll.)

"Can you get the client to air it just once on late night TV? We'll pay for it ourselves. " (Now for the part where I offer solutions. What? When you only talk about the wonderful things, there's no need to offer

Where would today's screenwriters come from if it was not for the advertising business. Where would all the advertising people work? The world already has too many Nobel laureates. Who would help shrinks pay their mortgages?

solutions. Darn. That's my favorite part. Oh well, if I can't

This is a great, great, great business! (Three greats is even

If you have AEs who can forge great relationships with

better than two greats. 50% better.)

offer solutions, at least I can offer encouragement for continuing to do the great things. Here goes.)

If you have great clients who buy wonderful work, kiss them.

clients, draft great briefs and sell wonderful work, hug them.

That's right, advertising is 50% better. It's new and improved!

It has quality and value. And value and quality. It has selection , variety. It will improve performance. It's cost-effective.

212

Bill's Book. From those wonderful folks who brought you

If you do wonderful work, keep on keeping on.

(Music up. SFX: Crowd cheering)

This is the best darn business in the known world. What other business gives you whiter whites? Where else does it scrunches when it crunches? You're soaking in it, pal. It gets the red out. It's the quicker picker upper. It's 1A cleansing cream. It builds bodies twelve ways . Not seven ways.

Not eight ways. Not even close. Twelve ways.

The wonderful world of advertising.

Advertising is the very lens through which we see our cul-

Kathy Lee Monahan •

P H 0 T 0 G R A P H Y

A N N U A L

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9 9 7

The side of the angels. No Sodom. No Gomorrah.

No morning breath.

Glory, glory, ad-ver-tis-ing. Its truth is marching on.

Yours truly,

Book Reviews Juergen Teller Publ ish ed by Taschen America 175 pages, hardcover, $29.99 230 5th Avenue , Suite 1602 New York, New York 10001

Juergen Teller began his photographic career in the mid-'8os with work for the groundbreaking British style magazines such as The Face, Arena and i-D. His often brutal, starkly lit, unstyled portraits deconstruct the glamour of fashion models, much like Nan Goldin's documentary portraits.

From an interview with New York writer and art critic Neville Wakefield, in the book's foreword, Teller answers the question: "What then makes a shoot work? Is it chemistry, accident, spontaneity, control. .. ?" with " ... I would hate to figure out the whole thing in advance and then execute it. That's why I am so dependent upon the people that I photograph. They give me something that I allow them to do." That last sen-

Some of these portraits appear to be largely voyeuristicnude or semi-nude models backstage at a fashion show, smoking, applying makeup, looking strung out. It's hard to assess technical brilliance or composition in these cases, but in the photographs that are most striking, craft and timing definitely are brought to bear on subjects such as Kurt Cobain, Courtney Love and a standout portrait of singer Bjork and her son in Iceland.

Teller is influenced by Lee Friedlander's non-romantic approach to nude photographs, that is, matter-of-fact shots of real women (ones who do not look as if makeup artists and hair stylists have spent hours with them first), even if his nude photos just happen to mostly be of top models.

Although the book's pacing is a bit uneven , the strength and hallmark of Teller's reuvre is honesty. Beauty is in the eye of the beholder and many may find his work unappealing. While some of the "fashion" shots seem repetitive and weak, the opening black-and-white work shot in Romani a for i-D, is reminiscent of the evanescent beauty of Josef Koudelka, and far more interesting than candid shots of makeup-less supermodels.

-ANNE TELFORD

tence sums up the synergy and communication between photographer and subject that lend interest and tension to Teller's best work.

Ray Gun: Out of Control

By Marvin Scott Jarrett. et. al.

240 pages, hardcover, $45 Published by Simon & Schuster Ed itions Roc kefe ller Center, 1230 Avenue of the Americas New York, New York 10020

N ewly released by the American Society of Media Photographers (ASMP), this book gives the most authoritative and up-todate information on business practices in stock and assignment photography, pricing and estimating, negotiating rights and fees, copyright, electronic media, publishing, business and marketing strategies, and professional services. Lists of helpful resources, and sample forms and contracts are included.

"This is the book you should go to first-1 do. It's a great cross section of up-to-date information about the business of photography."- Pete Turner, photographer

$24.95 , 63/4 X10, 416 pages, ISBN: 1-880559-78-1 To order, call toll-free: 1-800-491-2808 or visit the Allworth Press Web site at www.allworth.com

-------------------------------------------AIIworth Press, 10 East 23rd St., New York, NV 10010

"Raw by choice. Immediate by necessity. Alternative by design. " Coming of age listening to the New York Dolls while reading Creem, Crawdaddy and Rolling Stone, it was Marvin Scott Jarrett's dream to start his own magazine, one that reflected his interests in music, cars, surfing and skateboarding.

After briefly co-owning Creem, he realized his goal in 1992 with Ray Gun, a periodical for the alternative rock crowd, as distinct visually as it was editorially from forerunners like Rolling Stone. He gathered around him a team of talented, knowledgeable and far-sighted writers and designers and he "let them do what they do best. " That team included David Carson, and it is his innovative and "subversive" typography and layouts that m ake Ray Gun and Ray Gun: Out of Control as much about design in the '90s as they are about rock culture.

Along with hundreds of sample spreads from Ray Gun and irs sister magazines (Bikini, a "men's magazine" for the younger man; huH, a music m agazine owned by T im eWarner; Blah Blah Blah, a British rock m agazine; and Stick,

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Book Reviews for snowboarders) Ray Gun: Out of Control presents essays

by Jarrett, managing editor Dean Kuipers, editorial director Mark Blackwell, Eye founding editor Rick Poyner and even David Bowie.

In his essay, "Are You the Bomb?" speaking Ray Gun to the New Niche Cool, Kuipers reflects, "Anybody with a Mac can slap crazy illegible type over scanned pictures of their girlfriend's band and call it a magazine ... The graphic treatment promises an involvement with the music that is very personal. The allure of its eye-candy comes, in part, from the promise that cracking its visual codes will somehow bring you closer to your favorite artists ." Indeed, to get the reader that much closer, Ray Gun offers many celebrity contributors for words and images: Robyn Hitchcock, Joe Ely, Michael Stipe and Mike Mills, Allen Ginsberg, Kim Gordon, the Meat Puppets, Moon Unit Zappa, Joe Strummer and others.

In "The Closing Down," David Bowie interviews artists Tony Ousler, Yoko Ono and Roy Lichtenstein. In an excerpt from Ray Gun #12, Thurston Moore talks with Jeff and Steve McDonald of Redd Kross about losing their virginity to "L.A. punk women."

The design of Ray Gun: Out of Control, by the studio Substance, has the same "televisual atmosphere" found in the

magazine , along with, as Poyner describes , "the deliberate flouting of professional notions of correct design ...

Typos. Negative leading. Hand-scrawled headlines. Weird new mangled fonts. Colliding columns of text. " As in the magazine, in Ray Gun: Out of Control, form is definitely content. But, the "new" gets co-opted so quickly by mass media that, even after only five years, this all doesn't seem so subversive anymore.

-ANGELYNN GRANT

Jeanloup Sieff 40 Years Of Photography Published by Taschen America 288 pages, hardcover, $39 .99 230 5th Avenue, Suite 1602 New York, New York 10001

"Strange as it seems, many take the 'temps perdu' of Proust's A fa Recherche to mean 'wasted time' and not, as he intended, 'time which cannot recur'; the time of photography," writes Jeanloup Sieff. "The photographic image is indissociable from rime past, from the passage of rime

,

.......................... ..

FOODPIX® The All-Food Stock Picture Agency 310 .837.9900

216

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.

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.. . \

'

.

'

~-

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'~'This is qot for you,' I said. 'It's for people w:lth eyes that work. PeoRie that can see t~ings.'"

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Book Reviews

that it briefly restrains. " In this monograph-divided into

holding an umbrella; a feral looking Nico), dancers, models

four chapters, one for each decade-Sieff retraces in words

and ordinary people are quite extraordinary in style and composition. Working in black-and-white, Sieff captures moments which become timeless. His work reminds one of the elegiac beauty in each frame of a Robert Bresson film . Unlike a lot

and images his prolific career.

Sieff's writing is fluid and poetic, as complimentary to his elegant and emotional compositions as the proper wine is to a well-cooked meal. The brief descriptions accompanying each image bring home his personality and influences and demonstrate a delightful and self-depractory sense of humor, underscored by the amusing and inventive self-portraits which end each decade of work shown.

Born in Paris in 1933, Sieff began photographing at the age of fourteen and originally had ambitions to be a film director. He began working as a freelance reporter in 1954 and was hired by Elle as a reporter and then photographer. After he resigned from the magazine, he joined the Magnum agency

of contemporary photography (especially fashion ), these images haunt one long after closing the book.

-A.T.

Marks of Excellence

By Per Mollup 240 pages. hardcover. $75 Pu bl ished by Pha idon Press Distributed by Chronicle Books 85 Secon d Street Sa n Francisco. California 94 105

Recently, a commissioner in the

in the late ' 50s and lived and worked in New York from 1961-66, after which time he returned to Paris. His work has appeared in Vogue, Harper's Bazaar, Paris-Match, among

city where I live decided it was

others and he has received many awards including the Chevalier de la Legion d ' Honeur.

professional design team to create a

These insightful portraits of film luminaries (a young beam-

money and held a contest at a local

ing Jean Seberg signing an autograph; Franc;:ois Truffaut

art school. The winning entry, with

time to revamp the identity of our bus system. Rather than turn to a new trademark, he decided to save

would uou hire a surgeon who wasn't a member ot a professional organization? now, what about uour Photographer?

Your car ee r is your life . Who ca n you tru s t? H ow a bout o meo n e who belon gs to a national orga niza tion that i built on tru s t a nd hone ty.

A group that e r e e n pro p ee l throu gh a rev ie w by a board of c urre nt me mb e r . Sound famili a r? It s hould. Th e

me ri ca n So c i e ty of

Me dia Photo gr a ph e r s has b ee n around for o ve r 50 year s . Pro mo tin g e thi cs, profess ionali s m and photo graphi c int eg rit y.

Nex t tim e you ' r e c hoo s in g a photo gr a ph e r, look forth MP d es ignation. It ' on e l es thin g you ' ll ha ve to worry a bout.

See our we b it e for a se arc habl e me mb e r s hip database . www. as mp.org

218

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-$- ASMP 609.799.8300

'"It's for people that need pictures." Blind men. don't need pictures.' ...... ~

to turn pages."

Book Reviews

its aviation motif, looked like it should be emblazoned on

their market, for example, a trademark must communicate

the wing of a World War I fighter plane rather than a mod-

across increasingly vast geographic areas. The medieval,

ern bus. The poorly redesigned logo and the controversy it

swash-script logo found on a bottle of Carlsberg beer, for

inspired, shared the front page of the newspaper with impor-

example, has been redrawn to read in Thai, Arabic and

tant world events. Although they often appear smaller than

even the Cyrillic alphabet. Yet it still maintains the graphic

a postage stamp, trademarks can be big news.

integrity of the original brand name.

Until now, reference material on the subject has been lim-

The core of the book is a comprehensive taxonomy-a

ited to books that catalog clever logos, or volumes that

scientific classification-of trademarks. This is appropriate,

clarify the legalities of copyright protection. Marks of Excellence is one of the first thorough explorations of the trademark-a look at style, classification and theory-that is both erudite and engaging.

since the modern-day trademark owes much to the sciences.

Marks ofExcellence spans the 5,ooo-year history of trademarks, which evolved from the simple shapes branded onto horses in ancient times, and the symbols carved by craftsmen on the bottom of their wares. In our complex consumer society, it is easy to overlook such humble origins. The book reminds us that the primary functions of the trademark-to signify ownership, origin or social identity-have changed little through history. However, the role of the contemporary trademark is changing rapidly. As corporations expand

book presents an index of the most effective and intriguing

Psychology, linguistics, anthropology, sociology and even geometry have all played a role in the development of many of the logos we see on a daily basis. The final section of the international trademarks. The examples are a good balance between ubiquitous logos such as BMW, Coca-Cola and IBM, and obscure selections from throughout the world.

Marks ofExcellence is an excellent reference volume for anyone interested in a better understanding of the history and function of trademarks in contemporary society.

-PHILIP KRAYNA

Briefly Noted·

Lommunication Art~

Face to Face (Published by Lars Muller/Princeton Archi-

tectural Books, Distributed by Chronicle Books, 85 Second Street, San Francisco, California 94105, 128 pages, paper, $!6.95), by Franc;:ois and Jean Robert. It is human nature to see a face whenever dots and lines so conspire, even in the most unlikely inanimate object. Maybe then it is "graphic designer nature" to seek these faces and masks out. Posing and framing and photographing everything from monkey wrenches to box cameras to calipers to doorknobs , Swiss designers Franc;:ois and Jean Robert celebrate their comic community in the charming, almost wordless Face to Face.

Each page is a sweet surprise of a portrait, capturing the creatures that live like wide-eyed sprites in bottle openers, mailboxes, leather pouches, wall outlets and even vacuum cleaners.

A mouth can be a zipper, a snap or a tear in an envelope.

Eyes can be screws, grommets or lenses. The brothers Robert have shown by example how to beguile these imaginary fellows into showing themselves and telling their "never-ending stream of silent stories." Face to Face would sit well on any shelf next to Family ofMan or Kertesz's Portraits. It may

http://www.commarts.com

be odd, but one won't soon forget the poignant pleading in the "eyes" and "mo uth" of a certain worn camera case!

-A. G. 220

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WHERE TALENT IS.

HAND IMAGE : KENJI TOMA , REPRESENTED BY MICHAEL ASH

Materials Since the August issue is devoted to showing the results ofour annual juried photography competition, this column will cover a variety ofphotography-related items, many of which were gleaned from various trade shows CA has attended.

Photo Mousepad Cl!ck Products offers a variety of photo mousepads and accessories.

The PhotoPad opens from the back so you can insert and remove a standard 4 X 6 print. It works

vides excellent tracking control.

ers, even an Apple Newton. The

It comes in Midnight Blue,

bag is in their signature durable

Burgundy or Stone Grey. They

neoprene. Zing is the innovator

also offer the PalmSpring

of the neoprene single lens

MousePad which provides wrist

reflex camera cover, the

support; and the PalmSpring as a

original of which is on

stand-alone wrist rest. Cl!ck Pro-

permanent exhibit at

ducts does custom work as well.

the Design Museum

To receive a custom quote or

in London. A belt-

further information, call their

loop on the back

sales department (8oo) 723-38 67,

enables easy

fax (310) 782-8208 or write them

carrying and the

at 1990 Del Amo Boulevard "A",

bag is secured

Torrance, California 90501.

closed with Velcro®. List price

with horizontal and vertical pictures or you can slip notes, a post-

is $19·95· Another

Camera Bags

card or for that matter, anything

Zing Designs, who we've written

else that's thin and roughly 4 X 6

up before, now offers the Large

into the pad. A heavy rubber base

Camera and Personal Electronics

keeps the PhotoPad in place and

Bag, designed to hold cameras,

the scratch resistant surface pro-

flashes, lenses, electronic organiz-

recent design is billed as "a new ever-ready style neoprene case to fir single lens reflex cameras."

Modeled after the classic leather

electronic imaging; imaging soft-

case, it is extremely flexible and

ware manufacturers; talent

able to fir all SLR cameras with

(animals, birds, stylists, models,

a lens up to 4Y2 inches long. The

production coordinators); pro-

case allows quick film changes and

motion; location services; props;

is made of the same material

miscellaneous services (including

used to protect divers from the

accountants, associations, cater-

nastier elements of the sea. For

ers, photo schools and weather);

more information, contact Zing

stock agencies (listings for the U.S.

Designs , 351 Ninth Street, Suire

and Canada); regions (maps and

202, San Francisco, California

listings for 40 key cities); and list-

94103; phone (415) 626-9454 or

ing information. Detailed indexes

(8oo) 359-9119; fax (415) 626-9455;

may be found following each tab

e-mail zing@zingdesigns.com; or

page. This densely-packed (read

check out their site at www.

heavy) book is an indispensable

zingdesigns.com

tool for photographers, agents and I imagine, for art buyers and art

Source Book PDN Photo Source 97 is subtitled The Essential Source Book for Photographers and Creatives. In this case, it's not false advertising. For

directors as well. To order your own copy, fax (212) 536-5224, e-mail phall@pdn-pix .com or visit their Web site at www.pdn-

pix.com

$24.95, you can access photo

222

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equipment retailers (120 dealers

Slide Printer

nationwide); photo equipment

The Day lab Jr. slide printer from

(over 150 categories including

Polaroid Corporation is a self-con-

backgrounds , cameras, film and

tained portable daylight printing

lighting); repair; rental; labs;

system featuring built-in color

this is stock_? _

stock images about IDEAS

yes

call for a catalogue 505.986.0883

Wi8/ian stock

Materials and Available Literature

SAVE 50°/o

filters, AC power supply, auto-

sryles of work and might be espe-

marie film development rimer and

cially appropriate for historical

a film speed setting for both color

architectural drawings. All

and black-and-white films. I have

Crescent

one (a slightly older model) and

have specially buffered acid-free

AND PHOTOGRAPHY ANNUALS

it's a handy way to get a quick print from a slide that you don't

cores and backing papers to pro-

. !I.e Order now, quantities are limited! ~ .

have rime to rake to a lab. The

a full line catalog, write Crescent

ON CA's 1996 ILLUSTRATION

-,~

E'~

Offir expires August I5, I99J.

Complete your library. Or give them as a gift. CNs Illustration and Photography Annuals are the top references in the business.

Now you can get last year's Annuals at half off the cover price.

eoClassics Mar Boards

tect and preserve works of art. For

emulsion process also works well

Cardboard Company, Dept.

with this size format, all you need

NE0-25, P.O. Box XD, Wheeling,

is some watercolor paper (or other

Illinois 60090.

surface such as fabric), squeegee, burnisher (to apply pressure) and

photo-eye .. . of Santa Fe special-

a tray in which to wet the paper.

$8

izes in books and prints related to

Pop a slide in, make a print and

$8

the art of photography and they

instead of letting it develop nor-

produce useful reference catalogs

mally, rear it apart and apply the

which come our seasonally. They

WAS

NOW

CA 1996 ILLUSTRATION ANNUAL

~

CA 1996 PHOTOGRAPHY ANNUAL

~

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emulsion to your surface. Daylab

have an online photography

- - CA 1996 PHOTOGRAPHY ANNUALS @ $8 EACH

Jr., along with Polaroid's complete

bookstore , www. photo eye.co m ,

line of professional products for

where you can access their cat-

creative uses, are available for pur-

alog of over 8,ooo in- and our-of-

- - CA 1996 ILLUSTRATION ANNUALS @ $8 EACH SuBTOTAL

*California residents please add 8.25% sales tax. Canadian residents please add 7% GST **For shipping in the U.S. please add $I per issue, all other countries $]per issue.

*SALES TAX ** SHIPP! G

T o TAL

chase at any Polaroid dealer or by

print rides. The sire is updated

calling Polaroid Express at (8oo)

daily and has full-text search and

552-0711, Monday-Friday,

retrieval capability, online order-

8 a.m.-8 p.m. EST.

ing, best sellers, new arrivals, forums, the photo-eye Gallery

PLEASE PR INT NAME

COMPANY

Literature For Your Files

and more. If you are interested in

A request on your letterhead to the

(505) 988-4487.

following companies will bring you

ADDRESS

the literature described...free unless CITY

0

rhe art of picture making, check it our. To request a catalog, fax

STATE

MY CHECK IS ENCLOSED (U.S. FUNDS ONLY)

ZII'/ POSTAL CODE

0 0

COUNTRY

CHARGE MY CREDIT CARD MC

0

0 AMEX

VISA

otherwise noted. Whenever possible,

fax numbers and e-mail addresses have been included for convenience.

The Seven Ages of Man . .. is

the inaugural catalog from The Hulton Gerry Picture Collection, well known in Europe and available now in rhe U.S. through

CARD NUMBER

EXP. DATE

SIGNATURE

TELEPHONE

To ORD E R: Fill out this form and mail it with payment to: Communication Arts PO. Box IOJOO Palo Alto, CA 9430]-o8o7 F oR FAs TER S E RVICE CALL (8oo ) 258 - 9111 Monday-Friday: 8:]0 AM - s:oOPM, Pacific Time OR FAx THIS FoRM To (415) 326-1648 (Don't forget to include your credit card number.)

NO MAGA Z I N ES WILL BE SENT U TIL PAYM ENT IS RE C EIVED.

224

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Crescent Cardboard Co ....

Tony Stone Images. Spanning

offers a line called NeoClassics.

more than four centuries of pho-

Choose from 27 colors and tex-

tography and print-making, the

tures including " ... the metallic

Hulton Gerry comprises over 300

ores of Ancient Elements, the

varied collections, including the

Italian essence of Florentine

Picture Post and Keystone Press

Marbles, the crystalline patterns

Agency, as well as major works by

of Crackles, the swirls of Spun

photographers such as Man Ray,

Gold, the subtle finishes of Patina

Bill Brandt, Alfred Eisensraedr and

and the colors of Provence. " From

Robert Capa. The ride comes

the accompanying photograph,

from Shakespeare's As You Like It,

the mat boards look like they

and in this catalog's case, this is

would be perfect for a variety of

no mere literary pretension. The

If you're caught off guard finding the right hot dog You'll find plenty of pedigree images in our volume 10 catalog, with over 2,000 new contemporary and varied images to get your teeth into.

And if that isn't enough, how about over 7,000 images on our CD. It's easy to use by category, keyword, or by photo number from any of our catalogs.

So, if you're getting led astray, simply call us and we'll make sure you meet your deadline.

No research fees

ATLANTA: 800 347 0538 WASHINGTON DC: 800 345 0546 http://www.uniphoto.com

Materials and Available Literature

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Creative Professionals Advertise in Communication Arts, the world's largest publication on creative media.

Upcoming Reservation Deadlines: November Design Annual : September 2 December Advertising Annual : October 1 January/February 1998: November 3

For More Information: Contact Michael Krigel Phone : 415-326-6040 x26 Fa x: 415-326-1648 e-ma il: advertising@commarts .com

*73,991 is the audited paid circulation per 12/96 ABC Publisher's Statement. Even more im pressive is that an average add itional 2.6 readers read each subscription

photographs are stunning, often

marker an extensive photographic

poignant, and these glimpses of a

collection of the late Edward S.

simpler and more elegant era have

Curtis for commercial use. His

at times a surprising emotional

2,200 print magnum opus of over

impact. Lesser-known photo lumi-

8o North American Native nations

naries such as the Scottish-born

stands as rhe definitive record of

Sasha, whose photos of ballet

American Indian life. High-reso-

dancers are haun ring evocations

lution scans of this expansive col-

of creativity, are some of the joys

lection include such categories as

of The Seven Ages ofMan. And

portraits, peopled landscapes , still

lest one think that the ride is

lifes, tribal life, ceremonies, masks

exclusive, there are marvelous

and native objects . Curtis's photo-

photos of women, especially in

graphs are beautiful testimonials to

the "Young, Free and Single"

a way of life that vanished, along

section. For further information,

with rhe vast open spaces peopled

call (8oo) 644-1658 or explore

by Native Americans living in har-

their online picture research sire

mony with their environment.

at www.getty-images.com

One can only hope rhar introduc-

Stock Imagery L.L.C . .. . of

wider audience will not demean

Denver has collaborated with

the work of a visionary photog-

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rapher, bur serve to enhance it.

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ing these powerful images to a

creative professionals .

226

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does it

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Concepts sports photography is all we do, all the time . It's where you'll find the finest group of

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Contact Stock Imagery Inter-

worldwide. If strange is your bag,

mark embedded within the images

The Bridgeman An Library of

national, Inc., at (8oo) 288-3686

check out the bizarre people,

will identify Getty's ownership to

London, England, has opened a

or (303) 293-0202; fax (303) 293-

places and things that will be

viewers and will link through

New York branch to celebrate its

3140; or write them at 1822

available soon for advertising and

Digimarc's MarcCentre ™ to a reg-

silver anniversary. The Library's

Blake Street, Suite A, Denver,

promotional purposes. For further

istry and rights management

founder and managing director,

Colorado 80202.

information, contact The Image

system being developed and oper-

Lady Bridgeman said, "We embark

Bank (214) 863-4900. While you're

ated by Getty. This system may

this year on our second European

Believe it or not~ . . . The Image

at it, request their latest catalog.

ultimately provide solutions to

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Getty's vast holdings including

most efficient means of delivering

Photo News of Note

Tony Stone Images, a leading

images on the Internet. The Inter-

Digimarc Corporation, provider

stock photography agency, and the

net will eliminate geographical

amazing photos to their ever-

of the new international standard

recently acquired Liaison Agency,

and time barriers to business

expanding offerings. In its 79th

in digital watermark products and

which has an extensive news and

around the globe. But in the end

technology, announced that Getty

contemporary collection. Digimarc

business is about people. " Hence

and best known trademarks,"

Communications, a leading inter-

Corporation is a digital watermark

the New York branch, which will

Ripley's is currently in 225 news-

national provider of visual

product and technology company

allow clients to discuss their pro-

papers, and has 38 museums

imagery, will use its Digimarc™

founded in 1995. Their software is

jects and carry out their own

around the globe. Seventy-nine

watermarking as part of an overall

included with the new release of

research using their extensive

episodes of its one-hour program,

rights management and copyright

Photoshop and is recommended

database. The Bridgeman Art

hosted by the indefatigable Jack

communication solution. The

to its members by the Advertising

Library was founded in 1972 and

Photographers of America. For

was the first specialist art library

more information about Digimarc

of its kind; it represents more

Bank has an exclusive licensing deal with Ripley's that will bring more than 2,000 strange and

year as one of the world's "oldest

Palance, are shown in syndication

imperceptible Digimarc water-

~ommuni~ation Art~

and its products, call (8oo) 344-

than 650 museums and galleries

4627 (DIGIMARC), (503) 223-

around the world to provide a

ou8; e-mail info@digimarc.com;

one-stop source of art images for

or visit their Web site at www.

the advertising and design indus-

digimarc.com

tries. Collections represented include the British Library, the National Galleries of Scotland,

The Essential Creative Resource

VISCOMM, the popular trade

the Russian State Museum and

show for professionals in the imag-

the San Diego Museum of Art.

ing industry, has been renamed

The Bridgeman Art Library's new

PHOTO PLUS . When the event

office is at 65 E. 93rd Street, New

was launched in 1983 it was known

York, New York 10128; telephone

as the Photo Show. The name has

(212) 828-1238; fax (212) 828-1255;

now come back around to pho-

or e-mail info@bridgeman.co.uk.

tography. After months of conducting research with exhibitors, attendees, sponsors, consultants and the media, the announcement

acquired Swanstock, a unique fine

was made by Phillip Ullo, chair-

art photography agency founded

man and C.E.O. ofUllo Inter-

by Mary Virginia Swanson. This

national, the show's organizer and

adds more than 100,000 images

producer. It was determined that

from 700 top photographic artists

PHOTO PLUS incorporates all

to TIB's library. These images will

aspects of the photographic indus-

be marketed as a separate product

try including design, processing and prepress. To learn more about

http://www.commarts.com

this trade show, call Ullo International at (203) 852-0500, or fax (203) 854-9137·

228

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The Image Bank (TIB ) has

line with Swanstock operating as a wholly-owned subsidiary ofTIB. For further information, call (8oo) 842-4624-ANNE TELFORD

www.workbook.com

Clubs, Conferences, Seminars

Creative Summer Camp , Tom Monahan's sixth

ways in which we communicate. The exhibition continues

annual retreat for people of all creative persuasions, is plan-

through January II, 1998. The National Design Museum,

ned for August 21-24. The camp is located in Woolman Hill

a branch of the Smithsonian Institution, is located at the

Center, Deerfield, Massachusetts, on the eastern fringe of

corner of 91st and Fifth Avenue in New York City. For infor-

the Berkshire Mountains, central to Boston, New York and

mation, call (212) 86o-6868, (212) 86o-6865 or visit their

Bradley Airport in Connecticut. The $6oo fee includes all meals and camp-style housing. Monahan is the regular adver-

Web site www.si.edu/ndm

tising columnist for Communication Arts and was a founder

Seymour Chwast , designer and illustrator, will be

and creative director of the Leonard.Monahan ad agency in

honored by the School of Visual Arts in a Master Series

Providence, Rhode Island. Presently he is president and

Exhibition at the Visual Arts Museum, 209 E. 23rd Street,

head creativity coach at Before & After. For more informa-

New York from October 6 through November 8. An open-

tion, call (401) 624-1850 or e-mail beforafter@aol.com.

ing reception will be held on Monday, October 6, from

The 1Oth Colorado International Invitational Poster Exhibition (CIIPE) is scheduled for September II-12 at Colorado State University in Fort Collins, Colorado.

The biennial exhibition, which attracts hundreds of graphic designers and poster enthusiasts, offers an interesting global perspective from the viewpoint of 120 designers from 34 countries. The 1997 honor laureate is Vladimir Chaika, a world-renowned Russian designer. The exhibition's juror is Paula Scher, Pentagram Design, New York. At the official opening of the exhibition, the laureate's presentation and

6 p.m.-8 p.m. The public is welcome to attend. SVA presents its Master Series Award every year to a visual communicator who has created a significant body of work and has contributed to his or her field. Chwast's first job as a college graduate was working in the promotion department of the New York Times. From there he went on to co-found the legendary Push Pin Studios with Milton Glaser. Chwast has created over roo posters and authored or illustrated more than 30 children's books. His work has been used in advertising, animated films and editorial, corporate and institu-

symposium, satellite shows and a poster sale are planned.

tional graphics and is in the permanent collections of many

Copies of the posters for sale will be priced at $30 for students

museums worldwide. For information, contact Stuart

and $40 for all others. Catalogs of the posters included in

Ginsberg at (212) 592-2010, fax (212) 592-2012 or e-mail

the exhibition will also be available for purchase. All pro-

svapi@inch.com.

grams are free and open to the public. For further information, contact Carrie Schafer at (970) 491-6432.

The Direct Marketing Association 8oth Annual Conference & Exhibition is set for October 5-8

The University & College Designers Association

at McCormick Place in Chicago. Meet and hear some of the

will hold its 27th annual design conference in New York City

world's visionaries discuss issues vital to the direct marketing

at the Crowne Plaza Hotel September 27-30. There will be

business: James R. Rosenfield, creator of Millennia! Fever;

inspiring speakers, workshops on technology, education,

Don Peppers and Martha Rogers, co-founders of marketing

creativity and design practice, studio tours, time to share experiences with colleagues, a publications exchange and the winners of the UCDA design competition will be announced

r:r, inc.; Harry S. Dent, Jr., author; Clifford Stoll, Internet

at a special awards ceremony. For information, or to be added

Media; and General Colin Powell, who will share insights on

to the conference mailing list, call the UCDA National Office

how to be an effective leader. Member conference fee is

at (703) 548-1770 or fax (703) 548-1936. UCDA, 209 Commerce Street, Alexandria, Virginia 22314.

$1,095· For non-members $1,525. For additional information,

A major exhibition and cornerstone of the program celebrating the centennial of Cooper-Hewitt, National Design Museum, Smithsonian Institution opens September

pioneer; John Perry Barlow, Electronic Frontier Foundation co-founder; Kenneth Orton, president and COO of Preview

contact DMA, Registration Department, II20 Avenue of the Americas, New York, New York 10036, phone (212) 7901500; fax (212) 302-7643; e-mail registration@the-dma.org.

-]EA

A. CoY E

30. "Design For Life: A Centennial Celebration" explores

230

the central role design plays in our lives-from the objects

Copy must be received three months prior to the publication date.

we use daily to the spaces in which we live and work to the

Please include a contact, phone number and address.

P H 0 T 0 G R A P H Y

A N N U A L

I

9 9 7

Index to Photographers

Beebe, Morton 143 Phone (415)362-3530 150 Lombard Street San Francisco, CA 94111

Cohen, Stewart Charles Phone (214)421-2186 2401 S. Ervay, #206 Dallas, TX 75215

Alicino, Christine 37 Phone (415)495-7707 601 4th Street, #214 San Francisco, CA 941 07

Behdarvand,Pej 51 Phone (213)662-4224 1007 N. Madison Avenue Los Angeles, CA 90029

Collins, Chris 114 Phone (212) 633-1670 Chris Collins Studio 35 W. 20th Street New York, NY 10011

Anderson, Andy 131 Phone (208) 587-3161 480 E. 21st N. Mounta in Home, ID 83647

Bonini, Steve 96 Phone (503) 239-5421 615 S.E. Alder Portland, OR 97214

Archibald, Timothy 56 Phone (602)957-7964 2434 E. Minnezona Phoen ix, AZ 85016

Brandt, David Allan 10 Phone (213)469-1399 1015 Cahuenga Boulevard, #14C Los Angeles, CA 90038

Arrigo, Kurt 120 Phone (356) 972-533 Doolaly, Triq id-Dris St. Andrews , Malta

Broden, Fredrik

Aguilera-Hellweg, Max Phone (212) 749-2491 510 W . 110th New York, NY 10025

63

Arsenault, Daniel 9 Phone (801)322-3267 1130 Richards Salt Lake City, UT 84101

Baii, Randall 139 Phone(888) 899-2744 11 041 Westheimer, Suite 202 Houston, TX 77042 Barker, Kent 69 Phone (505)758-0970 214 Beimer Street 4655 NDCBU Taos, NM 87571 Beasley, Olivia 125 Phone (44) 171-739-6610 6 Haxton Square London N1 6NU United Kingdom Beaupre, Jason 47 Phone (215)413-3131 1238 Callowhill Street, #306 Philadelphia, PA 19123

232

P H 0 T 0 G R A P H Y

Concheso, David 106 Phone (407)671-8474 7322 Houston Avenue W .

Winter Park, FL 32792 Coventry, David

123

Phone~12)228~379

632 E. 11th Street, #6 New York, NY 10009

104

Phone~1~748~397

3404 Main Street Dallas, TX 75226

Cruff, Kevin 114 Phone (206)282-4726 3219 37th Avenue W .

Seattle, WA 98199

Burnett, David 61, 89 Phone (212) 481-6910 c/o Contact Press Images 116 E. 27th Street New York, NY 10016

Cutler, Craig 34 Phone (212)473-2892 628-30 Broadway, #403 New York, NY 10012

Campbell, Scott C. 93 Phone (903) 297-6248 200 Vinewood Lane Longview, TX 75604

Davidson, Cameron 87 Phone (703) 845-0547 4633 S. 36th Street, #A-1 Arli ngton, VA 22206

Chavkin, Dan 77 Phone ~12) 787-2137 27 W. 72nd Street, #1212 New York, NY 10023

De Zitter, Harry 13 Phone(508)945-4487 268 Deer Meadow Lane Chatham, MA 02633

Clang, John 94 Phone 00~258-3838 c/o The Picture Farm 45 Jalan Pemimpin #09-00 Foo Wah Ind. Bldg .

Singapore 577197

Droy, Todd 34 Phone (303) 480-1811 2101 W . 29th Avenue Denver, CO 80211

Clement, Michele 80 Phone (415) 695 -0100 879 Florida Street San Francisco, CA 9411 0

A N N U A L

I

9 9 7

Duka, Lonnie 139 Phone (714)494-7057 352 Third Street Laguna Beach , CA 92651 Dykinga, Jack 49 Phone (520) 743-0242 2865 N. Tomas Road Tucson , AZ 85745

47

Eastman, Michael 63 Phone (314) 863 -4291 6305 Westminster Place St. Lou is, MO 63130 Eccles, Andrew 87 Phone (212) 941-4743 480 Broadway, #402A New York, NY 10013 Ekhorn, Kjell 22 Phone (44) 181-674-2242 78 Athlone Road London SW2 2DS Un ited Kingdom Eliasen, Steve 32 Phone (414) 738-4080 Image Studios 11 00 S. Lynndale Drive Appleton, WI 54914 Emmite, David

137

Phone(50~284~595

2127 N. Albina, #218 Portland, OR 97227

Erickson, Jim 6, 14, 31 Phone (415) 928-5588 414 Austin Street San Francisco, CA 94 109

Fabian, Bobbi 113 Phone (415) 487-2160 c/o Bobbi Wendt Parallel Universe 1045 Sansome Street, #402 San Francisco, CA 94111 Feiler, Tom 9 Phone (416) 535 -1 955 33 Jefferson Avenue Toronto, Ontario M6K 1Y3 Canada Flynn, Jim 19 Phone (617)443-0057 345 Union Avenue Framingham, MA 01702 Frame, Bob 117 Phone (212) 929-2313 c/o Proof 18 E. 16th Street, #308 New York, NY 10003

W ith so many products available to boost performance and creativity, your Mac has never had more potential than it does today. See the best and latest of these enhancements at MACWORLD Expo/Boston!

The product offerings at retail stores are no match for the breadth of choice you'll find at MACWORLD Expo. Catalogs may offer variety, but no opportunity to see demonstrations or ask questions. Only MACWORLD Expo lets you experience the full scope o f Mac computing , with thousands of solutions for: • Web site design and Internet navigation • publishing , entertainment and multimedia • networking, enterprise-wide connectivity. and intranets • education . R&D . research • business and telecommuting The Mac universe is 60 million users strong . Rub shoulders with thousands of the most innovative. ingenious . and committed users at MACWORLD Expo. Network at special interest areas and pavilions that are free to all attendees. Learn from the experts keep abreast of trends ... maximize your Mac investment in more than 80 conference sessions .

MACWORLD Expo opens your mind to new horizons accessible only through your Mac.

See us on the VVVVVV at: http://1NVV1N.tnha.con1/ tnac1Norldexpo/ or call: 800-645-EXPO r-------------------------------------------, : Please send more information on MACWORLD Expo : 0 Boston 0 San Francisco 0 Attending 0 Exhibiting I CAT

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Name - - - -- - - - - - - - - -- - - - - - - - - - - - - -- - - - - - - - Titl e_ _ _ ______________________________ Co mpany __________________________________ Address.__________________________________

Macworld

m

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email ____________________________________ Mail t o MHA Event Mana gem ent . 1400 Provid ence Highway, P.O. Box 9127 . No rwood. MA 02062 . Or Fax to: 617 -440-0357

THIS IS NOT A REGISTRATION FORM.

___________________________________________ J

Index to Photographers

Franklin, Charly 96 Phone (415)776-5000 1456 Fulton Street San Francisco, CA 94117

Hamilton, Chris 45 Phone (404)355-9411 1415A Howell Mill Road Atlanta, GA 30318

French, Graham

Hardee, Deborah

38

Phone(20~345~077

388 Carlaw Avenue. #303 Toronto, Ontario M4M 2T4 Canada

1700 Main Street Boise, ID 83702

Gajdel, Edward 29 Phone (416) 535-4773 260 Adelaide Street E., #23 Toronto, Ontario M5A 1N1 Canada Gamba, Mark

791 N.W. Trenton Avenue Bend, OR 97701

Gilo, Dave 37 Phone (414) 671-1910 2009 S. 19th M ilwaukee , WI 53204 Glentzer, Don 78 Phone (713) 529-9686 3814 S. Shepherd Houston , TX 77098 Goodman, John 45 Phone (617)482-8061 337 Summer Street Boston, MA 02210 Graham, Jim 84 Phone (302) 239-6167 P.O. Box 567 Montchanin , DE 19710 Grecco, Michael 51 Phone (310)452-4461 1701 Pier Avenue Santa Monica, CA 90405 Guzman 13 Phone (212) 643-9375 31 W. 31st Street New York, NY 10001

P H 0 T 0 G R A P H Y

Kendall, Earl 9 Phone (612)321-0575 212 3rd Avenue N., #570 Minneapolis, MN 55401

Harris, Charles 125 Phone (919)833-6659 c/o Stone Soup Productions 313 W. Martin Street Raleigh, NC 27601

Kendrick, Robb 64 Phone (830) 833-2202 Route 1, Box 391 R Blanco, TX 78606

Haynes, Loren 106 Phone Q12)477-3601 20 E. 1Oth Street New York, NY 10003

Krajcirovic, Maria 10 Phone (847)864-1803 1205 Elmwood Avenue Evanston , IL 60202

Hix, Steve 125 Phone (415) 388-3554 417 Marin Avenue Mill Valley, CA 94941

Kratochvil, Antonin 64 Phone (212) 477-7722 SABA 116 E. 16th Street, 8th Floor New York, NY 10016

93

Phone(541)31~1000

234

131

Phone~1~778~922

Fuchs, Rafael 67 Phone (212) 529-0518 163 8th Avenue, #3 New York, NY 10011

Kander, Nadav 19, 22, 38 Phone (44) 171-359-5207 1-7 Britannia Row London N1 SOH United Kingdom

Holder, Chad 89 Phone (612) 797-0478 1345 Idaho Avenue S., #301 St. Louis Park, MN 55426

Kuntz, Bryan 120 Phone (713) 667-4200 7700 Renwick, #5A Houston, TX 77081

Holland, Robert 32 Phone(561)220-3667 16 N. Ridgeview Road Stuart, FL 34996 Holmgren, Robert 144 Phone (415)325-6837 319 Central Avenue Menlo Park, CA 94025 Horenstein, Henry 119 Phone (617)426-4222 1140 Washington Street Boston, MA 02118

Lahdesmaki, Markku 9 Phone (310) 838-9833 8950 Ellis Avenue Los Angeles, CA 90034 Laita, Mark 132 Phone (310)836-1645 3815 Main Street Culver City, CA 90232 Lamb, Amy 93, 96 Phone (301) 229-4505 Amy Lamb Studio 5711 Newington Road Bethesda. MD 20816

Huet, John 74 Phone (617)439-9393 c/o Redcat Productions 27 Drydock Avenue , 7th Floor Boston, MA 0221 0

Lavine, Michael 31 , 78 Phone (212)924-5310 78 Fifth Avenue, 5th Floor New York, NY 10011

I

9 9 7

Leverman, Peter 6 Phone (416) 588-9897 1209 King Street W., #207 Toronto, Ontario M6K 1G2 Canada Lightner, Scott 27 Phone (310) 556-0221 270 N. Canon Drive. #1 092 Beverly Hills, CA 90210

Maas, Rita 109 Phone (212) 929-0441 236 W . 26th Street New York, NY 10001 McArthur, Pete 117 Phone (310)815-1951 8735 W. Washington Bou levard Culver City, CA 90232 McClaran, Robbie 51 Phone (503) 234-6588 1246 S.E. 49th Avenue Portland, OR 97215

Huber, William 113 Phone(617)426-8205 354 Congress Street, 4th Floor Boston, MA 0221 0

A N N U A L

LeMoyne, Roger 16, 99 Phone(514)935-5531 Gamma-Liaison 1827 Lincoln Street Montreal , Quebec H3H 1 H5 Canada

McCurry, Steve 6 Phone (212) 780-9392 c/o Magnum Photos. Inc .

151 W . 25th Street, 5th Floor New York, NY 10001 Macfadyen, Jamie 27 Phone (61) 3-9826-3555 c/o Milk Pty. Ltd .

2 Yarra Street South Yarra , Victoria 3141 Australia McNally, Joseph 80, 83 Phone (914)478 -7728 52 Villard Avenue Hastings, NY 10706 MacPherson, Tim 64 Phone (44) 171-482-3032 6 Apollo Studios Charlton Kings Road London NW5 2SB United Kingdom

CreativitLJ Image DeliverLJ Multimedia New Technologies

iJ Manipulation

mag1ng Input/ olut1ons Output

torCreativeS hiving Networking To Subscribe

800/745-8922 In Advertise

212/536-6410 To Sud

http://www .pdn-pix.com

ProfitabilitLJ

Index to Photographers

McSpadden, Wyatt 53 Phone (512)322-9102 P.O. Box 650098 Austin. TX 78765

Mizono, Robert 14 Phone(415)648-3993 650 Alabama Street San Francisco, CA 9411 0

O'Brien, Michael 135 Phone (512)472-9205 908 E. 5th Street, #116 Austin, TX 78702

Richards, Eugene 110 Phone(718)788-5342 4 72 13th Street Brooklyn, NY 11215

Malloy, Brian 114 Phone(414) 224-6122 301 N. Water Street Milwaukee, WI 53202

Montgomery, Scott 144 Phone (714) 538-5130 204 N. Waverly Street Orange, CA 92866

O'Ciair, Dennis 113 Phone (516) 598-3546 109-B S. Ketcham Avenue Amityville, NY 11701

Richards, Mark 61 Phone (415)389-8253 61 Sunnyside Mill Valley, CA 94941

Marrazzo, Gerard 110 Phone (201)746-3434 7 Park Street Montclair, NJ 07042

Morris, Christopher 70 Phone (212) 679-3288 c/o Blackstar 116 E. 27th Street New York, NY 10016

Olson, Rosanne 21 Phone (206)633-3775 5200 Latona Avenue N.E. Seattle, WA 98105

Root, Jonathan 63 Phone (44) 171-485-5522 21 Ferdinand Street Chalk Farm London NW1 8EU United Kingdom

Marsico, Dennis 144 Phone(412) 781-6349 11 0 Fahnestock Road Pittsburgh, PA 15215 Martin, Andrew 117 Phone (312) 226-1511 1035 W. Lake Street Chicago, IL 60607 Mason, Charles 131 Phone(907)457-9074 P.O . Box 75226 Fairbanks, AK 99712 Mauskopf, Norman 42 Phone (505)989-4161 622 Paseo De La Lorna Santa Fe, NM 87501 Meeks, Raymond 55 Phone (614) 221-2163 276 Newbury Street Boston, MA 02116 Meyerson, Arthur 103 Phone (713) 529-9697 2710 Bisson net Street Houston, TX 77005 Michl, Joe 135 Phone(612)874-1999 2010 1st AvenueS. Minneapolis, MN 55404 Mills, Jake 143 Phone (203) 454-3225 or (212) 254-0215 78 River Road Weston, CT 06883

236

P H 0 T 0 G R A P H Y

Musilek, Stan 114 Phone (415) 621 -5336 1224 Mariposa Street San Francisco, CA 941 07

Nachtwey, James 72 Phone (212) 522-4515 c/o Time Magazine 1271 Avenue of the Americas New York, NY 10020 Neleman, Hans 32 Phone (212)274-1000 Neleman Studio 77 Mercer Street, #2N New York, NY 10012 Nichols, Patrick 9 Phone (416) 536-2940 29R Atlantic Avenue Toronto, Ontario M6K 3J9 Canada Niedorf, Steve

90

Phonere1~332~124

700 Washington Avenue N., #304 Minneapolis, MN 55401

Nielsen, Ed 123 Phone (415) 361-1114 P.O. Box 620468 Woodside, CA 94062 Nilsson, Lennart 59 Phone (46) 8-22-9120 c/o Bonnier Fakta Hukikvallsgatan 5 Stockholm Va Sweden

A N N U A L

I

9 9 7

Orstadius, Martin 67 Phone (718)636-1845 104 Gates Avenue, #1 Brooklyn, NY 11238 Ozone, Toshi 120 Phone (212) 581-7306 P.O. Box 2390 Times Square Station New York, NY 101 08

Salowe, Warren 125 Phone (718) 545-7036 31-31 34th Street, #2C Long Island City, NY 11106 Saunders, Jonathan 56 Phone (800)616-4804 2041 Marina Cove Drive Hixson, TN 37343

Pavloff, Nicholas 89 Phone (510)452-2468 1009 Winsor Avenue Oakland, CA 94610 Porcella, Philip 29 Phone (617)423-2002 337 Summer Street Boston, MA 02210 Prior, Gary M . 51 Phone (310) 230-3400 c/o Allsport Allsport Building 17383 Sunset Bouleva rd Pacific Pal isades, CA 90272

Rees, John 94 Phone (801)798-0797 3536 E. 1800 S. Spanish Fork, UT 84660 Reingewirtz, Sarah 131 Phone (818) 781-0155 6928 Ranchito Avenue Van Nuys, CA 91405

Schatz, Howard 40, 141 Phone(212)334-6667 Schatz/Ornstein Stud io 435 W . Broadway, #2 New York, NY 10012 Schleipman, Russ 31 Phone (617) 292-0055 37 Union Park Boston, MA 02118 Schmaltz, Joanne 139 316 Main Street Durham, CT 06422 Represented By Molly Birenbaum Phone (203) 272-9253 Schwartz, Deborah 53 Phone (818)794-7371 443 E. Alameda Street Altadena, CA 91001 Sedlik, Jeff 143 Phone (213)626-3323 940 E. Second Street, Stud io 8 Los Angeles , CA 900 12

se.~o\...'0 ~~tf#~~

Se.~· -z-9-od.~ ,ef!l7

Index to Photographers

Seidl, Michael T. 127 Phone(206)443 - 4317 2320 1st Avenue, #300 Seattle, WA 98121 Seliger, Mark 55, 64, 87 Phone(212) 727-7445 c/o Proof 18 E. 16th Street, #308 New York, NY 10003 Shepard,Randi 128 Phone (773) 227-2044 or (773) 935-5955 3218 N. Sheffield Avenue Chicago, IL 60657 Sklar, Evan 77 Phone (212)777-6476 431 E. 6th Street New York, NY 10009 Slater, Greg 34, 144 Phone (404) 584-6397 141 Mangum Street, S.W. Atlanta, GA 30313 Smith, Rodney 19, 37 Phone(914)359-3814 P.O. Box 48 Palisades, NY 10964 Stillings, Jamey 21 Phone(SOO) 724-0209 1150 University Avenue, #3 Rochester, NY 14607 Stretch 96 Phone (888)320-4002 701 N. 27th Street Richmond, VA 23223 Swan, Kate 47 Phone (215)413-3131 1238 Callowhill Street, #306 Philadelphia, PA 19123

Thai, Ted 53 Phone(212) 522-4515 c/o Time 1271 Avenue of the Americas New York, NY 10020

238

P H 0 T 0 G R A P H Y

Thibodeau, Dominique 141 Phone (514)849-7360 473 Port St-Joseph Montreal, Quebec H2J 1JS Canada

Wahl, Chris 78 Phone (416) 534-8972 171 Clinton Street Toronto, Ontario M6K 3J9 Canada

Thijsse, Leen 120 Phone (212) 727-1400 c/o Stockland Martel 5 Union Square West New York, NY 10003

Walsh, Sam 61 Phone (617)423-2858 354 Congress Street Boston , MA 02210

Topelmann, Lars 27 Phone (503)234-1963 2626 S.E. Ankeny Street Portland, OR 97214 Tran, Robert 10 Phone (818)286-0907 6275 N. Deerfield Avenue San Gabriel, CA 91775 or Phone(852)2896-2670 905 Paramount Building 12 Ka Yip Street ChaiWan Hong Kong Treleven, Joe 106 Phone (612) 331-5305 Treleven Photography, Inc. 3338 University Avenue S.E., #240 Minneapolis, MN 55414 Trent, Brad 101 Phone (212)627-2147 33 Greenwich Avenue New York, NY 10014 Turner, Danny 56 Phone(214)826-1130 615 N. Good Latimer Expressway, #1B Dallas, TX 75204

Uzzell, Steve 96 Phone (703) 709-1139 1420 Belcastle Court Reston, VA 20194

A N N U A L

I

9 9 7

Zadig, David 101 Phone (617) 983-5483 57 Cornwall Street, #4 Boston , MA 02130

Watson, Albert 59 Phone (212) 627-0077 777 Washington Street New York, NY 10014 Westenberger, Theo Phone (212) 732-5900 366 Broadway, #SA New York, NY 10015

90

Westmoreland, Graham 37 Phone (44) 1924-266939 Pontefract House 19A Tithe Barn Street Horbury, Wakefield WF4 6LJ United Kingdom Wexler, Glen 29 Phone (213)465-0268 736 N. Highland Avenue Los Angeles , CA 90038 Whitaker, Greg 27 Phone (812)988-8808 P.O. Box 1693 Nashville, IN 47448 Wilhelm, Christoph 24 Phone (212) 239-8072 545 8th Avenue, #26 New York, NY 10018 Wilkes, Stephen 109 Phone (203) 226-2661 17 Crooked Mile Road Westport, CT 06880 Witkin , Christian 80 Phone (212)463-0376 423 W . 14th Street, #3F New York, NY 10014

Woodburn, Karen 89 Phone (630)406-1151 122 1st Street Batavia, I L 6051 0 Represented by Linda Pool Phone (816) 761-7314

Zakusilo, Eugene 135 Phone (773)764-8528 3812 W. Jarvis Skokie, IL 60076

Editor's Note Every effort has been made to ensure that the credits comply with information supplied to us. If, for any reason, a misspelling, omission or other error has occured, notify us within 30 days and we will be able to issue corrected award certificates.

The showcase magazine lets you see the finish.

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Index of Art Directors, Design Firms, Agencies and Clients

Chauvin, Nicolas 13 Cheung, Ron 10 Chromagen Digital Imaging 21 Chung, Derek 10 106 The City, Inc. Clang, John 94 Clark, Frank 21, 27 Clemenger Harvie 27 Clement, Michele 80 CLM/BBDO 13 Cohen, Stewart Charles 47 Chris Collins Studio 114 Command K 45 Concheso, David 106 Cox, Erik 109 Cramer-Krasselt 10, 32 Crandall, Jennifer 55 Crisafulli, Jennifer 51 Kevin Cruff Photo 114

Harry N. Abrams, Inc. 49 Adidas America 96 Advertising Photographers of America/Milwaukee 114 Aguilera-Hellweg, Max 63 45 Alston & Bird American Way 87 Anderson, Tammy Thorn 16 Armario, David 61, 64, 74 19 Arnold Advertising Arnold, Mark 14 Arnold, Michael 24 Asao, Paul 32 Attention Communication 9 Attitude 63

Bachleda, Florian 63 Bad Boy Entertainment 31 Baker, Richard 55 Ball, Randall 139 Barajas, Luis 64 Barrett, Dirk 64 Bates Hong Kong 10 BDDP Group 19 Bell Sports 27 Bentkowski, Tom 59, 80, 83 BMW 37 Bohanan, Ana 47 L.D. Bohm Studios, Inc. 110 Bohm, Linda 11 0 Bonauro. Tom 37 Tom Bonauro Design 37 Borders, Perrin & Norrander, Inc. 27 38 Bozell Palmer Bonner Brautigan, Doris 67 Brown, Elaine 16 Brown, Tom 61 Budweiser 38 51 Burroughs, Lisa Burrows, Barbara Baker 59 Butler, Marianne 87

Calley, Marilyn 87 Cannell, Jon 104 Carlson, Rick 125 Carmichael Lynch 32 Carson, Bill 103 Carter-Wallace, Inc ., Trojans Cee Design 113 Cefalu, Rose 64 Challman, Cathy 9 Chan, Kinson 10

240

P H 0 T 0 G R A P H Y

Day St. Louis 14 De Maupeau, Anne 13 Department of Water and Power 29 Detour 64 DiGiacomo, Cynthia 113 DiStefano, Tina 31 Doar, Tia 27 51 Dooley, Jeff 78 Douglas, Kay Doyle, John 38 Duffy, Patrick 9 Dunn, Mary 53 D'Urban 10

Eastman Kodak Co. 6 Ekhorn, Kjell 22 Elanco Animal Health 16 Elden, Rick 117 Ellingsen/Brady 114 Emerson, Wajdowicz Studios 110 E.M .I. Records 9 Entertainment Weekly 53, 67 Escape 53 Esquire 87 Evan Publishing 45 Evans, Robert 45

10

A N N U A L

I

9 9 7

Fabian, Bobbi 113 Fallon McElligott 37 Feaster, Scott 87 Fidelity Investments 9 Fisher, Tim 114 Fishman, Madeleine 93 Flinchum, Dwayne 101 Fortune 64 Fotouhi Alonso Agnew 29 FPG 96 Frame, Bob 117 106 Franke & Fiorella 96 Franklin, Charly Frey,Jane 51,61,89 Friend, David 80, 83

GBSM 34 Gearon & Hoffman 29 Goldberg, Margery 63, 77, 80 Golon, Maryanne 51, 61, 89 Goodby, Silverstein & Partners 22 Goteborgs-Posten 67 Graham, Corey 89 Grant, Todd 22 Green, Aurica 96 14 Jeffrey Grey Furniture 13 Guillaume De La Croix

Habibi, Sarah 84 Haillop, Jacques 61 Hanan, Cindy 120 Hanson, Dean 37 Hardison, Wes 6, 31 Harris, Alex 45 Hauser, Jochen 24 Haven, Jim 27 Hayo, Thomas 6 Health 77 Heath, Ebon 31 Heflin , Mark 45 Helsinki :Media 9 Herring/Newman 21, 27 Hewlett-Packard 21, 27, 34 Hickey, Lisa 9 Hochstein, Arthur 51, 53, 61, 63, 70, 72 , 89 Hodgson, Paul 9 Hoffman, Chuck 125 Hofmann, Dave 32 Holden, Eric 19 Holland, Karen 37 Holland Mark Martin 9

Hood, Ginger 32 Howard, Lisa 10 113 Huber, Wil liam Hugendubel Bookstores The Hunt 84

24

IBM 34 90 The Image Bank In Medias Res 24 Inland Steel 10 Island Paper Mills, division of E.B. Eddy Forest Products Ltd .

110

Jaguar Canada Inc. 19 Janes, Wayne 78 Margaret Jenkins Dance Co .

37 Johnson & Wolverton 51

Karow, Bill 6, 31 Kessler, Axel 53 Kimley-Horn & Assoc iates 96 Kindercare Learning Centers 96 Kiplinger's Personal Finance 80 Magazine Kirkland, Mike 19 Koepke, Gary 45 Kohn, Victoria 56 Kohnke Koeneke 37 Kohnke, Rich 37 Kookai 13 Kriss, Evan 51 Kuhn, Karen 32

LaGuardia, Diana 87 Lambert, Kathy Boardman 106 Landsberg, Steven 19 Langholz, Susan 70, 72 LaRochelle, Lisa 110 Lavine, Michael 78 104 The Leonhardt Group Leverman, Peter 6 L'Express 61 Life 59, 80, 83

~ommunic~tion Arts 1996 Television Commercials P.O . Box 10300, Palo Alto, CA 94303-0807

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Index of Art Directors, Design Firms, Agencies and Clients

Lightner, Scott 27 Linneman, Lisa 29 Live Magazine 56 Lockhart Joan 49 Loeffler Ketchum Mountjoy 13 Los Angeles Times Magazine 56 Lowe, David 19 Lowe, Deanna 77 Lowe & Partners/Live 10 14 Lowe, Woody

Maas, Rita 109 117 McArthur, Pete McClaran, Robbie 51 McKenna , Tim 78 McMahon, Dot 101 McNally, Michelle 64 Make a Wish Foundation 106 114 Malloy, Brian Marrazzo, Gerard 11 0 The Martin Agency 96 Masaro, Joe 34 Mazza, Mike 34 Memorial Health Care 32 Men's Health 78 Men's Journal 61, 64, 74 Mercy Hospital 27 Meyer, Sabine 77 Miller, Thomas M .

53 Mills. Jake 143 Milwaukee Women's Center 37 Moore, Chris 34 Moore, Norman 53 Moore, Peter 96 Morrow Snowboards 27 Morton, Robert 49 Mosaix 104 Mountjoy, Jim 13 Muir, Robin 51 Mullen Advertising, Inc. 32 Murphy, Brian 96 Musilek, Stan 114

New York Magazine 63, 77, 80 The New York Times Sunday Magazine 56 Newman, Robert 63, 77, 80 Newsweek 51 Nike, Inc. 106 North Carolina Travel & Tourism 13 Norton, Chad 34

242

P H 0 T 0 G R A P H Y

O'Ciair, Denn is 113 O'Ciair Photography 113 O'Hare, Terri 96 Ogilvy & Mather 19, 34 Ogilvy & Mather/Houston 37 Oliver. Douglas 143 Omni Hotels 29 Option One 9 Outside 69 Owen, Donald 9

Palecek, Jane 77 Paltemaa , Unto 9 Pavloff. Nicholas 89 Pentagram Design 103 Peters. Layne 114 Photographs Do Not Bend 47 PHS/Helsin ki 9 Polaris Watercraft 32 Polydor Records 22 Portal Publications 93 Prenger, Deborah 29 Price/McNabb, Inc. 21 Protestant Episcopal Church of America 101

Ralston Purina 14 Ramsay, Bruce 51 Randle, Ron 21 Random House 9 Rees. John 94 Richards, Dan 106 Riddle, Todd 19 Hal Riney & Partners 6, 31, 38 Robertson, Sean 135 Roche Macaulay & Partners 29 Rock & Wood 14 59, 87 Rolling Stone 29 Rosen , Harry Rudasics, Jackie 110 Rudasics, Steve 110 Ruffing, Eric 27 Ryan, Kathy 51, 56

Saatch i & Saatchi Advertising 34, 110 109 Saks, Jeffrey Salowe, Warren 125 109 SamataMason 34 Sander

A N N U A L

I

9 9 7

Saturn Corp .

6, 31, 38 Sawyer Riley Compton 16 Schmidt Jurgen 24 Schroer, Kevin 21 Scudder Stephens & Clark 31 Seconds 78 Shell Lubricants 37 Shoesmith, Jo 27 Silverstein, Rich 22 Slater, Greg 144 Smith, Elizabeth 16 Smith, Sue 69 Spencer Francey Peters 9 Spin 51 Sports Illustrated 101 SquareD Co. 21 Stephenson, Michele 53 (((stereotype))) 31 Stevens, Robert 70, 72 Stoddard 's 19 Stout, D.J. 55 Sukle Advertising 34 Sukle, Mike 34 Summation 114 Sunday Times Magazine 64

Tag Heuer 19 Takel, Avtar 19 Taubner, Beth 78 TBWA Chiat/Day St. Louis 14 Temin, Frederic 13 Tenneco 103 94 Tew, Elin Texas Monthly 55 Thackaberry, Lisa 56 13th Floor 27 6 J. Walter Thompson 3M Buf-Puf 9 Tiedy, Mike 106 Tiefenbacher, Wendy 80 Time 51 , 53, 61, 63, 70, 72, 89 Times 3 45 Tolmie, Ellen 99 Toronto Sun Publish ing Corp .

78 Triola, David 27 Tuplin , Simon 38 Tuttle, Mike 27

22 Umbro International UNICEF 99 United States Olympic Program 101

UpCountry 55

6

us

Vigtel, Gudmund Vintage 47 Voss. Tom 78

45

Wajdowicz, Jurek 110 Wall, Sheridan 47 Water World 34 Wausau Insurance Co .

32 Welch, Edward 29 Westenberger, Theo 90 Glen Wexler Studio 29 W ilhelm, Christoph 24 Wilkes. Stephen 109 Williams. Lowell 103 51 Wolverton, Hal Wong, Anita 77 Woodward, Fred 59, 87 Woody, Jack 42

Yelland, Richard

Zamudio, Andres

6

114

Editor's Note Every effort has been made to ensure that the credits comply with informat ion supplied to us . If, for any reason, a misspell ing, omission or other error has occured, notify us within 30 days and we w ill be able to issue corrected award certificates.

Directory Featured in this issue Technology Feature Sam McMillan smcmillan@olc.sfsu.edu

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Index to Advertisers

Page

Academy of Art 222 Adobe Photoshop 151 All sport 227 214 Allworth Press 195 Apple 199 Archive Photos 218 ASMP Barnes & Noble 181 Bettmann Archive 205 Champion Kromkote 201 Champion Preference 146 182 Clients & Profits 165 Comstock 185 Consolidated Papers Creative Circus 211 Creative Sourcebook/ Creative Sourceweb 180 Digital Stock 177 152 Encad, Inc. Erickson Productions 208 184 Extensis Portfol io Extensis Preflight Pro 197 Food Pix 216 213 FPG International 188 Fraser Paper Georgia-Pacific Quantum 203 Hammermill Paper Co. 159 174 HP DesignJet 154 Image Bank KliK! 215,217,219,221 Liaison International 183 MacWorld 233 Miami Ad School 200 Mita Copystar 207 Morgan, Scott 223 Photo District News 235 147 PhotoDisc Portfolio 189 Portfolio Center 166 Quantel Paintbox 192 ReCourses 187 Seybold Seminars 237 161 Sharpshooters 239 Step-By-Step 157 Stock Market Tony Stone Images 179,191 Uniphoto/Pictor International 225 Wausau Papers 167 Westlight 231 Williams, Jimmy 162 Workbook 229

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

A R T S

243

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