Issue 1, 2013: ASPP's The Picture Professional Magazine

ASPP DIGITAL EDITION BROUGHT TO YOU BY CORBIS IMAGESregcorbisimagescom Find out more

UP-TO-THE-MINUTE NEWS SPORTS AND ENTERTAINMENT COVERAGECorbis Images delivers breaking news every day and from every corner of the globe through our contributing photographers and collections including the Associ-ated Press Demotix and Splash

UP-TO-THE-MINUTE NEWS SPORTS AND ENTERTAINMENT COVERAGE

Corbis Images delivers breaking news every day and from every corner of the globe through our contributing photographers and collections including Reuters Demotix and Splash

42-37228157 | copy Gavin HellierJAICorbis

QUARTERLY MAGAZINE OF THE AMERICAN SOCIETY OF PICTURE PROFESSIONALS

ISSU

E 1

201

3

PROFESSIONAL

TH

E

from the worlds leading museums 1000000 fine art images

come browse our gallery



1asppcom

TABLE OF CONTENTS

ISSUE 1 2013THE PICTURE PROFESSIONAL

COVER IMAGE copy PHOTOGRAPHER HALTHIS PAGE copy JON CRISPIN

PORTFOLIO 12RichardSelesnickampNicholasKahn

PORTFOLIO 20PhotographerHal

PORTFOLIO 38BrandonJuhasz

SANDYART 30RandyTaylor

SECONDSHIFT 32JohnSpaulding

QA 34HBOArchiversquosMaxSegal

ONPRESERVINGTHEWILLIARDSUITCASES 56JonCrispin

CLICK 42BenHigh

WHATrsquoSHANGING 8BOOKREVIEWS 56

PRESIDENTrsquoSMESSAGE 05MichaelMasterson

EDITORrsquoSLETTER 07AprilWolfe

THELAW 46JoelLHeckerEsq

CHAPTERCAPTURE 49

CONTRIBUTORS 63

LIFEINFOCUS 64StellaKalinina

2American Society of Picture Professionals

LIST OF ADVERTISERS

MASTHEAD

Since first forming as a small dedicated group of picture professionals in 1966 ASPP has grown into a large community of image experts committed to sharing our experience and knowledge throughout the industry We provide professional networking and educational opportunities for our members and the visual arts industry If you create edit research license distribute manage or publish visual content ASPP is the place for you Join us at wwwasppcom

ASPP Executive Offices 217 Palos Verdes Blvd 700 Redondo Beach CA 90277 Tel 4242479944 Fax 4242479844 directorasppcom

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

Contributing Writers Ben High Josh Steichmann John Spaulding Joel L Hecker Randy Taylor Jenny Respress Jon Crispin

2012-2013 National Board of Directors

President Michael Masterson

Vice President Sam Merrell

Secretary Sid Hastings

Treasurer Mary Fran Loftus

Membership Doug Brooks Holly Marshall

Technology Daryl Geraci Cecilia de Querol

Marketing amp Communications Jennifer Davis Heffner

2013 Chapter Presidents

West Mark Ippolito Christopher DiNenna

MidWest Christopher K Sandberg Mike Fisher

New England Jennifer Riley Debra LaKind

New York Peter Berberian Kris Graves

DCSouth Lori Epstein Jeff Mauritzen

2013 Sub-ChapterVice Presidents

Minnesota Julie Caruso

Missouri Sid Hastings

Ohio Mandy Groszko

Wisconsin Paul H Henning

Advertising amp ExecutiveOfficers Jain Lemos Executive Director directorasppcom

Editorial April Wolfe editorasppcom

National President Michael Masterson michaeldmastersongmailcom

Membership Doug Brooks Holly Marshall membershipasppcom

Website Daryl Geraci webmanagerasppcom Tel 602-561-9535

eNews Blog Jenny Respress newsletterasppcom

bull The American Society of Picture Professionals (ASPP) is a non-profit non-partisan association of image experts committed to sharing their experience and knowledge throughout the industry The Picture Professional (ISSN 1084-3701) is published spring summer fall and winter as a forum for distribution of information about use purchase and sale of imagery bull ASPP is dedicated to promoting and maintaining high professional standards and ethics and cooperates with organizations that have similar or allied interests We welcome the submission of articles and news from all sources on all aspects of the imagery profession Contact editorasppcom bull Advertising is also desired and welcomed We offer a specific readership of professionals in positions of responsibility for decision making and purchase For our media kit and rate sheet contact Jain Lemos 424-247-9944 Space reservation deadlines February 10 May 10 August 10 November 10 Subscription rates Free to members $4000 per year to non-members Back issues $1000 when available Non-members are invited to consider membership in ASPPbull POSTMASTER Send old and new address changes to ASPP Inc 217 Palos Verdes Blvd 700 Redondo Beach CA 90277 Members can update contact information in the Member Area of our website at wwwasppcom bull copy2013 American Society of Picture Professionals Inc Single photocopies of materials protected by this copyright may be made for noncommercial pursuit of scholarship or research For permission to republish any part of this publication contact the Editor-in-Chief ASPP assumes no responsibility for the statements and opinions advanced by the contributors to the Societyrsquos publications Editorial views do not necessarily represent the official position of ASPP Acceptance of an advertisement does not imply endorsement by ASPP of any product or service

The Picture Professional quarterly magazine of the American Society of Picture Professionals Inc

Adobe SendNowage fotostockakg-imagesArt ResourceAssociation Health ProgramsAurora PhotosBridgeman Art LibraryChromaQueencom

CorbisCurt Teich Postcard ArchivesCustom Medical Stock PhotoDan Suzio PhotographyDanita Delimont Stock AgencyEverett CollectionFundamental PhotographsGlobal Image Works

Levine Roberts PhotographyMinden PicturesNature Picture LibraryNew York Public LibraryNorth Wind Picture ArchivesRobert Harding World ImageryScience SourcePhoto ResearchersSovfotoEastfoto

The Granger CollectionThe Image WorksTravel USA Stock PhotoViesti Associates Stock PhotoVIREOThe Academy of Natural Sciences

AmericanSociety ofPictureProfessionals

3asppcom







web wwweverettcol lect ioncom te l 212 2558610 x122 e-mai l sa leseverettcol lect ioncom

How do you want to tell your storyWWI Centennial 19142014

ILLUSTRATIONNAVAL

GERMANY

INFLUENZA

AFRICAN AMERICAN

FRANCE

PROPAGANDA

ENGLAND

FILM

PEACE

FINE ARTGENERAL PETAIN

FASHION

RUSSIA LENIN

MUSIC TRENCH WARFARE

RECRUITMENT

TANKS

HOME FRONT CARNAGE

LITERATURE HEMINGWAY AVIATION YANKS - USA

FILM ldquoSERGEANT YORKrdquo

NEWSPAPERS

5asppcom

PRESIDENTrsquoSMESSAGE

MICHAEL D MASTERSONASPP NATIONAL PRESIDENT

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ob S

chm

olze

Pho

togr

aphy

DEAR PICTURE PROS

From the first photo ever taken by French inventor Joseph Niceacutephore Nieacutepce in 1826 to the shot taken seconds ago on an iPhone by a teenager at the mall ten percent of all photos ever taken in the history of the world were taken in the last twelve months We take more pictures every two minutes than were taken in the entire 19th century nearly 400 billion a year with over 300 million posted to Facebook every day They add to a collection thatrsquos already 10000 times larger than the Library of Congress archive Itrsquos a mind-boggling statistic but believable when you see people whipping out their smartphones to document everything in sight What used to be the province of professional photographers and later anyone with a Brownie or a point-and-shoot is now in virtually everyonersquos pocket How many pictures have you taken today

This has redefined imagery where it comes from and how itrsquos used Of course these images arenrsquot all taken by professionals but given the pervasiveness of photography in our everyday lives how does an organization like ASPP fit in How can an organization that began in 1966 as a genteel society of ldquopicture professionalsrdquo sharing cocktails and industry news and trends morph into a 21st century association that meets the needs of a constantly changing industry Thatrsquos our challenge and call to action if wersquore to remain relevant and survive as the only professional association thatrsquos inclusive of all members of the image world

Itrsquos forcing us to rethink our mission and our membership Our membership skews to an older demographic not only for historic

reasons but because we havenrsquot reached a potential younger audience as effectively as wersquod like Wersquove been evolving over the past couple of years to include different levels of membership opportunities and expand our reach to aspiring professionals and students Wersquore keenly aware of the need to rebrand ourselves and are focusing on that this year as part of our Website redesign (more about that in a minute) among other initiatives

Wersquove made some strides with student membership specials more relevant chapter programming and this slickly designed magazine But wersquore doing more Wersquoll make another highly visible leap forward with the relaunch of a more content-rich user-friendly asppcom in the next couple of months This supports and complements our larger goal this year to expand the ASPPrsquos relevance and presence in the industry Wersquoll be doing this by leveraging our own content more effectively increasing our social media presence showcasing our diverse members and their roles offering Webinars to benefit our more far-flung members and would-be members and creating more buzz-worthy targeted chapter events

With the help of an inspired and inspiring Board of Trustees a talented and committed National Board our generous sponsors and advertisers and engaging members like you this promises to be the best year yet for the ASPP And we welcome your ideas and suggestions for programming outreach and benefits Now go shoot one of the millions of photos that will be taken today Who knows It could end up in the next issuersquos back page feature Life in Focus

MICHAELmichaeldmastersongmailcomweb wwweverettcol lect ioncom te l 212 2558610 x122

e-mai l sa leseverettcol lect ioncom


ILLUSTRATIONNAVAL

GERMANY

INFLUENZA

AFRICAN AMERICAN

FRANCE

PROPAGANDA

ENGLAND

FILM

PEACE


FASHION

RUSSIA LENIN


RECRUITMENT

TANKS

HOME FRONT CARNAGE



NEWSPAPERS

INCREDIBLE STORIESEXCEPTIONAL IMAGESOur contributing photographers and collections including the Associated Press Demotix and Splash allow Corbis Images to cover the yearrsquos biggest events alongside our breaking news sports and entertainment

Find out more at wwwcorbisimagescom

42-38545708 | copyJulie DermanskyCorbis

corbisimagescom

FebOnePageindd 1 21913 917 AM

7asppcom

IS IT SPRING ALREADYSo much has been changing here at The Picture Professional and with ASPP Have you heard about the new website Jenny Respress is hard at work on social media (have you added us on Facebook or followed us on Twitter) and wersquore rewriting our submissions guidelines to make things easier if yoursquore thinking of submitting to us This issue marks my second year as editor for TPP and I want to thank you all for your participation acceptance and encouragement Yoursquore all inspiring and passionate individuals and thatrsquos exactly why I want to be here

Letrsquos wipe the celebratory tears from our eyes and get down to brass tacks because issue 20131 has some amazing material to dazzle you First off we have three excellent portfolios from upcoming and world-renowned artists including Brandon Juhasz Photographer Hal and Richard Selesnick amp Nicholas Khan Randy Taylor takes us through his emotional and serendipitous photographic discoveries following Hurricane Sandy and John Spaulding inaugurates our Second Shift column where industry professionals share their experiences in evolving careers Ben High returns with some valuable reviews on contract apps for the iPhone and iPad and our Whatrsquos Hanging section is temporarily taken over by Foto+Synthesis a renegade exhibition curation program Joel Hecker covers rights grabs in The Law and Max Segal documentary filmmaker and director of HBO Archives sits down with us for QA to talk about the future of film archiving and footage licensing And for the archivists we have one more article for you from Jon Crispin on the fascinating work of documenting the Willard Asylum for the Chronic Insane

Irsquom normally wordy here but you know what You should be reading the rest of our magazine Wersquove worked very hard to get this issue out and wersquore so proud yoursquove taken the time to readgaze atglance atkind of thumb through it

SincerelyAWOLFEeditorasppcom

EDITORrsquoSLETTERAPRIL WOLFEEDITOR-IN-CHIEF OF THE PICTURE PROFESSIONAL

copy C

ecile

Ann

e In

ga




corbisimagescom



WHATrsquoS HANGING Photo exhibitions near you

FOTO+SYNTHESISThe Future of Museum Exhibitions and Education

If you attend a museum opening anytime in the next few years therersquos a good chance yoursquoll run into one of Foto+Synthesisrsquo programs Foto+Synthesis founded by artistphotographer Gordon Watkinson as a traveling exhibition service meant to give him a more hands-on approach to his own exhibitions now represents collections from contemporary photographers and works directly with the artists to develop their projects into museum-ready exhibitions and educational programs Developed exhibitions include everything from texts graphic elements educational programming poster and invitation designs and press packages as well as plans for setup In 2006 Watkinson teamed up with Alexandra Le Faou of Phaidon Press and the two have been building programs ever since the first unveiled being ldquoBauhaus twenty-21 An Ongoing Legacyrdquo which has since traveled everywhere from Krakow to Stockholm and will soon be opening at the Arkansas Arts Center in Little Rock from May 24ndashSeptember 22

Foto+Synthesis projects have a two-to-five year gestation period so many of the exhibitions are still incubating but Alexandra Le Faou has been nice enough to grant us an inside peek at their upcoming programs And according to Le Faou Foto+Synthesis is on the lookout for ldquowell-developed completed bodies of work that tell a story while transcending the medium of photographyrdquo

They look for work with wide appeal and different cultural contexs For more information on Foto+Synthesis their exhibitions or where their programs are headed check out fotosynthesiscom

Bauhaus twenty-21 An Ongoing Legacy ndash Photographs by Gordon Watkinson

ldquoBauhaus twenty-21rdquo was conceived as a multi-disciplinary project encompassing architecture design and photography The exhibition is an inspiring exploration of the Bauhaus legacy in 21st-century architecture and design accessible to a diverse audience it demonstratesndashthrough sequences of large-format images by American artistphotographer Gordon Watkinsonndashnew floor plans of all the buildings as well as re-editions of Bauhaus furniture and objects the links between todayrsquos architecture and the ideas and forms developed by the Bauhaus between 1919 and 1933

[Available from Fall 2012 Photography and architecture workshops and guided tour of the exhibition with Gordon Watkinson Companion publication available]

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WH

AT

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AN

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G

Silafando A Gift to You on Behalf of My Journey ndash Images by Jason Florio

This series of images was created during Floriorsquos 930 km circumnavigation by foot of The Gambia on the Western coast of Africa crossing over 30 villages and small towns The beautiful and sensitive color photographs of the Alkalos the elected village chiefs in the traditional system of local leadership capture the elegance confidence and the sense of authority that they derive from their status Setting up the same outdoor studio situation throughout his journeymdashreminiscent of the tradition of studio photography from West AfricamdashFlorio offers a stunningly beautiful gallery of portraits whose vivid colors stand in surprising contrast to the soft nearly painterly backdrop of the photographs The images will be accompanied by the names signatures and official stamps of the Alkalos as well as text material about their geographic and cultural background

[Available from Fall 2012 Photography workshops and guided tours of the exhibition with Jason Florio for all age groups Foto+Synthesis will produce companion publication for exhibition]


Color Falls Down ndash Priya Kambli

Priya Kamblirsquos series of photographs ldquoColor Falls Downrdquo is rooted in her fascination for her parents and her own history of displacement In a digital juxtaposition of old family photographs self portraits and personal artifacts from both the past and the present Kambli explores her genealogy and creates a complex narrative of dual cultural identity inherited traditions mythical memories and generational ties The carefully chosen imagery intertwines with rare elegance moments and objects of Kamblirsquos everyday life in the US her children their toys with snapshots of her own childhood in India as well as staged photographs of Indian customs and rituals While creating her own mythology throughout generations Kamblirsquos sophisticated and rhythmic associations of forms colors textures and symbols transcend the photographerrsquos own history and cultural journey Her images become a universal attempt to overcome absence loss and acculturation

[Available from Fall 2013 Photography workshops and guided tours of the exhibition with Priya Kambli for all age groups]

Small Town Portraits of a Disappearing AmericandashBrazilian-born Alex Leme

Intrigued by the continuing disappearance of rural towns in America Alex Leme spent two years capturing the silent mood of Cotton Plant a small town of 650 nestled in the rural northeast portion of Arkansas between Little Rock and Memphis Despite its rich history of the promising nature of its past Cotton Plant has suffered the same challenges and consequences as many other small rural towns What once was a relatively thriving center and one of the fastest growing communities in Eastern Arkansas is now a town littered with ghost factories abandoned schools and the carcasses of crumbling buildings while the handful of remaining local stares struggle to survive Today the small-town atmosphere with its slow pace and tightly knit communities which so defined rural America is strongly undermined by growing isolation and forced idleness Lemersquos images of Cotton Plant landscapes and people subtly convey a nearly threatening stillness and quietly question the future of a forgotten America

[Available from Fall 2013 Photography workshops talks and guided tours of the exhibition with Alex Leme for all age groups]

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WH

AT

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AN

GIN

G

Rodinrsquos Burghers of Calais A Heroesrsquo Tale ndash Gordon Watkinson

In this new body of work Watkinson explores one of the most important art works of the 19th century the monument dedicated to the Burghers of Calais by French sculptor Auguste Rodin The artist initiates a compelling dialogue with the texture of the bronze the fluidity of the lines as well as the intensity of the faces and gestures of Rodinrsquos characters Deconstructing the group of six Burghers Watkinson focuses with expressionistic acuteness on the depth of human emotions that the sculptor infused into his subjects The tight and frontal close-ups captured by the photographer conjure up Rodinrsquos powerful creative act The photographs will be presented alongside short texts from prominent contributors specially commissioned for the project The contributors will offer a multi-layered critical approach of the sculpture as well as the historical event that precipitated the creative process

Anonymous Women Draped ndash Patty Carroll

At first sight Patty Carrollrsquos faceless portraits appear to be a colorful variation on the themes of ludic role-plays and domestic deacutecor literally enveloping the subjects in a never-ending flow of patterned textiles On a closer look however Carrollrsquos thoughtfully choreographed photographs conjure up other familiar imagesndashthe habit of the nun the burka or a type of urban camouflagendashwhile her powerful evocation of overloaded interiors challenges the idea of home as a sanctuary If Carrollrsquos often witty or ironic use of the accessories associated with the idea of home and comfort inject an effective dose of subversion in her symbolic representations her images also confront the viewer with questions of feminine identity and the nature and expressions of a double-edged domesticity It is precisely in this constant tensionndashbetween the sensuality of the textiles and the claustrophobic sensation that emanates from their display between the harmony of the compositions and the obsessive longing for perfectionndashthat Carrollrsquos ldquoAnonymous Women Drapedrdquo continues to intrigue and seduce

[Available from Fall 2013 Guided tours of the exhibition with Patty Carroll for all age groups]

[Available from Fall 2013 Photography workshops and guided tours of the exhibition with Gordon Watkinson]


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AGORATruppe Fledermaus Photographs

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By Nicholas Kahn amp Richard Selesnick

PHOBIAcopy

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Ric

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esni

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LONG AFTER THE FINAL weather pageants had ended I would visit Orlofsky in the tiny rooms in which he had sequestered himself I would find him lying in the grey soiled sheets of his bed an unfathomable emptiness in his eyes this would gradually dissipate as what remained of himself floated up from the bottomless depths to greet me Over the peeling florals he had pinned up yellowing pieces of muslin until the entire room windows included had been covered above us was a decaying skylight that rendered the sky occluded colorless so that the weather in the rooms was always overcast and indistinct Somehow in his dementia he seemed to have finally succeeded in carving a discreet block of time and space from the continuum and trapped that elusive quicksilver in a small apartment behind the marshalling yards next tomdashwell it was pointless to speculate where we might be

I never could remember until I managed to exit his front door at which point I could never seem to remember clearly what had taken place within Random fragments of memory would return to me occasionallymdashlike the time we had been sitting cross-legged on the floor of his padded cell and he had raised his hand and bid me listen somewhere in the distance I could discern a great quantity of birdsong a cacophony that had grown louder and louder until I could hear wings softly beating on the other side of the muslin and then had gradually faded as the flock disappeared over the imaginary horizon I realize nowmdashtoo late unfortunatelymdashthat rather than being an actor trapped on the stage of his own madness Orlofsky had in fact become the audience within a theatre of memory a spectator looking out from the proscenium over an infinitude of drawers

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and cabinets each containing a fragment of our vanished lives While I merely sat in his room he had actually been there at the picnic on the Ouse the taste of gooseberries and Blanc de Blanc still fresh on his tongue dandelion fluff swirling about his head as a storm of starlings had come shrieking over the marshes looting the countryside of its sounds and then echoing them back in a furious mimicry Of course the construction of this wonder had cost him and by extension myself everything On this day we did nothing in particularmdashbeyond the fabric I could hear a steady rain falling as the drops pinged off various objects creating a sad and contemplative music although whether this was the actual weather outside or merely Orlofskyrsquos memory of weather I no longer knew For if truth be told he was not well As a youth he had been taken to see various relatives and

family friends who suffered from the condition and although he had managed to navigate through the clouds of cigarette smoke and yellowing wallpaper of those murky rooms with the afflicted lying motionless on their beds shrouded like Egyptian mummies their voices like a rustling of leaves barely audible the experience had somehow marked him and I wondered at what moment did the weather conditions inside his own head start to turn Maybe it was a slight fogginess or a period of drought maybe a change of wind direction a quaver in the voice a subtle tremor in the hand as it tries to reach for the doorknob perhaps for the last time

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AGORAPHOBIA

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A unique collection of images representing the history of Russia Soviet Union and the entire Communist Bloc

including Eastern Europe and Chinaresearchsovfotocom (212) 727-8170

ASPPadindd 1 22513 41845 PM

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Bridgeman_March_2013_FINALpdf 1 22113 1039 AM


become well known for his project titled ldquoFlesh Loverdquo which features real-life couples vacuum-sealed together inside clear plastic packaging ldquoCouple Jamrdquo the precursor to ldquoFlesh Loverdquo is a bit less controlled a bit more spontaneous giving the impression of a photo booth at a wacky carnival where lovers are asked to contort themselves into a tiny space for the fun of it Describing Couple Jam Photographer Hal says ldquoI want to capture love as it really is and the bathtub is an ideal vehicle to encapsulate the vivid reality in my imagesrdquo The idea conveyed is that love is allndashboth the puzzle pieces and the finished puzzle His projects go through a metamorphosis of sorts In the earliest project ldquoPinky amp Killerrdquo couples were photographed simply holding one another in a small intimate space two separate individuals embracing For ldquoCouple Jamrdquo pairs of lovers are squeezed into their bathtubs arms and fingers entwined legs zigzagging into the air You begin to lose the sense of whose limbs belong to whom The couples here resemble conjoined twins By the time we reach ldquoFlesh Loverdquo what were previously twosomes have morphed into something new each one is an almost fetus-like single unit wrapped in its own womb Therersquos magic in Photographer Halrsquos work that can be seen especially in ldquoCouple Jamrdquo and ldquoFlesh Loverdquo Even though these couples are contorted into tight spaces with arms and legs and necks and torsos bent at odd angles and wrapped around one another they look natural happyndasheven comfortable sharing such an intimate space with their partners This is how Photographer Hal wants to conquer the world ldquoFrom two people to a group a town to a community a city to a country from border to border the ring of love shall prevailrdquo

COUPLE JAM

THE WORK OF PHOTOGRAPHER HALBY JENNY RESPRESS

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THE JAPANESE ARTIST KNOWN AS PHOTOGRAPHER HAL HAS

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COUPLE JAM

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25asppcomcopy Camillo Longo (4)

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editorial specialists for over 25 years

theimageworkscom PO Box 443 Woodstock NY 12498 8004758801 8456798500 infotheimageworkscom

historicalscience amp technologyperforming artsdocumentary amp photojournalism

natural history religionillustrationfine art

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Igor

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Wor

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Pre

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SANDY ARTARTISTRY BORN FROM STORM DAMAGE THE EMAIL SAID OUR STORAGE FACILITLY HAD FLOODED FROM THE SUPER STORMSANDY It took weeks to fully understand the translation Dagmar Fabricius and I had lost most of our lifersquos workmdash30000 slides prints and negatives spanning 40 years of photojournalism and stock plus several generations of family photos But from the filthy moldy remains of this massive mess sprouted some seeds of creativity and hope A tiny set of visually pleasing images (less than 01) rose up to be noticed An artistic effect was born of the stormrsquos debilitating destruction a creative result that seems one step beyond the outer limits of imagination and Photoshop I created a technique (more like battlefield triage for photos) of dipping each image in 91 rubbing alcohol which is a shockingly drastic method that is only suitable for those images that are on their ldquodeath bedrdquo with chunks of mold and bloated gooey emulsion The alcohol dip instantly kills the mold freezes the deterioration and speeds the drying time (Editorrsquos Note A video of Randyrsquos alcohol dip technique can be seen at this URL httpbitly11QWYkm)

The artistic effect is the result of an unpredictable combination of blurriness cracking micro fractures mold spores and extreme discoloration as the colored layers disintegrated Kodachrome loses its red layer first revealing monochromatic blue images beneath the bright colors Ektachromes become red where the top layer of emulsion peals away The waterlogged emulsion creates a soft focus effect when it dries then cracks to various degrees Mold is the most unpredictable delivering its own creative destruction While these photos were created by Randy and Dagmar it could be argued the art is by nature

At such junctures in life one cannot help but wonder what should have been done differently Lost were the famous photos that graced magazines worldwide and altered politics and perception photos of death and disasters wars and shoot outs covert activities and cover ups and of hundreds of celebrities that are the bread and butter of photojournalism Pieces of history personal national and international were lost What should have been done

The most obvious error was in storing anything of value in a basement even of a professional storage facility Every action taken by the facility (or not taken) increased the damage Water will always seek its own level In retrospect logic dictates that it was just a matter of time before gravity would combine with a flood or water from a firemanrsquos hose or a sprinkler head breaking to inundate a basement Our cautionary steps of putting valuables in plastic bags and bins proved worthless Scanning would have

been too costly in large quantities Several computers were also destroyed So digitization would have mattered little unless the backups were in multiple locations In the end the best approach was simply to have spread the photos around at various photo agencies and locations to not have all our eggs in one basket To a small degree that limited the loss Distribution to mitigate risk would hold true for both analog and digital

The most emotionally disturbing aspect was removing the slides from the filing cabinets Because the cardboard slide mounts had swollen an enormous pressure was created from their expansion which made it impossible to open the cabinet drawers or remove the slide pages It was necessary to smash a two inch ldquopathrdquo with a hammer pulverizing my own images into little plastic chips to create enough ldquowiggle roomrdquo to get the remaining slides out of the files

Yet on a positive note some of these images emerged to be truly unique in a way that I would never have imagined and these are the images you see here in these pages There was no planning or editing other than simply trying to save as much as possible that were destined for total destruction and rapidly deteriorating There is a formula of sorts

Time under waterXHow much dirt and bacteria are in the waterXContact with airXHow long the destruction continues=Total Destruction

So drying the images more quickly and washing them sealing them from air as quickly as possible will limit the damage In the final phase the emulsion runs off the slide like water leaving only clear plastic When the quantities are too great to salvage images one at a time one technique to stall or delay the damage is to dip the entire slide page in rubbing alcohol This will inhibit the growth of mold and buy some time

While this art has much to do with the law of averages destroy enough pictures and some will look interestingmdashhopefully the right ones The thought is inevitable that this could become an art form What if one were to create images for the sole purpose of soaking them in bacteria-laden water for two weeks then letting them deteriorate until a desirable effect is achieved I imagine someone could perfect that technique to a certain degree but until that time I present here my accidental discoveries


BY RANDY TAYLOR

Undercover police officers shoot an Iraqi embassy guard to death who had just shot a French police officer in the streets of Paris in 1977 Originally a black and white negative the image was mounted The plastic slide page stuck to the center of the image delaying its destruction which created this window-like effect

copy Randy Taylor



The lens of a movie theater projector shines through chaotic colors caused by storm damage to the original slide

Astronaut and Senator John Glenn on the campaign trail for President in 1984 The extreme cracking results from water-soaked emulsion drying irregularly

Guards line up at the Guanabara Palace in Rio de Janeiro Brazil in 1973

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andy

Tay

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3)

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Photographer Randy Taylor mockingly takes the chair at an illustrative photo shoot in a gas chamber that was used for executions of capital crimes

copy Randy Taylor


Filtered through the mosquito net over her hotel bed an American contem-plates the city of Hue Vietnam from her window in 1997

Self-portrait of photographer Randy Taylor taken on a cruise to Mexico in 1998 The red color is the result disintegration of the blue layer of the photo-graphic slide

Neo Nazis in pose during a secret rally in Florida in the 1980s The extreme colors results from layers of emulsion peeling away in a random pattern

Life passes from a victim of the 1985 mudslide in Armero Colombia that killed 25000 A generation later floodwaters damaged the image creating the eerie and uncomfortable combination of death and destruction of subject and media

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andy

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4)

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The space shuttle Challenger takes flight on a mission prior to the 1986 disaster that killed its crew of seven

copy Randy Taylor


AS MANY OF YOU IN THE IMAGE INDUSTRY HAVE FOUND the work you thought yoursquod be doing is not necessarily the work you are doing Being able to recognize opportunity and adapt is a useful skill for our current economy but being able to flourish after your adaptation is even better In this continuing series TPP will be identifying those flourishing individuals allowing them to tell their stories share advice and give a glimpse at what life is like after your careerrsquos second (or third) shift Inaugurating the column is DC photographer John Spaulding

What is the single phrase or sentence you say most often to your assistant ldquoHand me another memory cardrdquo or maybe ldquoI need the other lens nextrdquo How about ldquoPlease donrsquot let me get run overrdquondashndashwhile lying next to the wheels of a 12-ton forklift whose operator cannot see you

I was (and still mostly am) a typical DC-area generalist shooting for a mix of editorial and corporate clients But in 2009 I got a referral to shoot exec portraits for a large transportation company based in the area which led to a multi-project contract and now here I am loving my job but hoping I donrsquot die in the process which is whymdashif yoursquore going to take a step into the industrial and transportation realmmdashsupport from an assistant is essential My criteria The head-on-a-swivel booming voice take-charge type that will not hesitate to grab my shirt and yank or wave arms like a maniac to an equipment operator whorsquos lost sight of me as I bravely (ok stupidly) look for the dramatic lower ever lower angle

Sure there are plenty of other people around when Irsquom shooting on railroad tracks or in a bus-wash bay or in the busy cab lane of an international airport The clients always have safety folks on hand telling me where to stand and what NOT to do But even then problems can arise with inconsistency For instance in Southern California I was working for a contractor that maintains railroad tracks and right of way I was fitted with hardhat safety vest eye and ear protection and had been informed in advance that I had to be wearing heavy-duty work boots to be allowed within their work zone There were several rounds of radio conversation between the crew chief and dispatch to confirm exactly when where and for how long we would be entering the RoW I received a detailed briefing confirming exactly how many minutes I would have to complete my work who would be photographed what they would be doing

SECOND SHIFT

(lifting equipment welding etc) and the areas that would be more or less safe for me to be standing while they did so based on where the heavy equipment was operating stuff being moved which way the sparks would fly etc And then I had to sign a written acknowledgment of the instructions which included a confirmation that if I failed to follow instructions or removed my safety gear at any time I would immediately be removed from the work zone with no warnings Some time later however I was working for a similar rail contractor this time on the East Coast I showed up early The ldquobriefingrdquo was as follows ldquoWe have a guy who watches for oncoming trains and when he sees one blows an airhorn When you hear the horn and see us all get off the tracks you probably should toordquo

Every large contract Irsquove ever worked around has a safetytraining officer and senior-level operations managers or union stewards but the best people to work with are the ones closest to the operations levelndashndashnot the execs marketing or PR folks who sometimes get involved Itrsquos sometimes a precarious balance of pleasing the client and following the safety engineers Once when I was in charge of a photography crew I had an art director show me a concept sketch of a worms-eye view of a historical relic as it was lifted from Atlantic waves onto the deck of the recovery ship ldquoGet me this shotrdquo the AD insisted The deck chief was less enthusiastic about having a photographer in the water while cranes lifted a fragile multi-ton payload in rolling seas Needless to say the shot did not happen

Itrsquos true that most shoots are coordinated through a combination of editors writers management marketing people PR contacts and customer-service or media-relations people Thatrsquos fine to get things together to make the shoot happen but itrsquos vital to understand this when itrsquos time to actually plan the shoot and all the relevant logistics those people are just in the way The photog MUST deal directly with the operations-level folks well before shoot day to ensure that all the pieces come together

Irsquom not sure I got into this business for the ldquodanger of itrdquo But when photographic opportunities arisemdashwhether itrsquos snapping shots of a executive in her office or a welder in the fieldmdashitrsquos necessary to learn how to adapt And while Irsquom thankful I havenrsquot had to take out any additional insurance policies for me or my assistant there are a few things I wish Irsquod known when I started and some things Irsquoll never know like is that crane going to swing into my head Luckily my assistant can worry about that

JOHN SPAULDING ASCENDS THE PHOTO RANKSIN A CRANE

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(3)

MAX SEGAL DIRECTOR OF HBO ARCHIVES

36

HBO Archives seems like a grand undertaking in terms of the products and services yoursquore offering as well as the task of actually archiving your material Your website says that ldquonew material is created dailyrdquo Do you oversee both the archiving as well as the licensing sides of the business How big is your staff

HBO Archives is very unique to HBO It is a business within a business The HBO Archives curates a smaller selective sub-set of the entire networksrsquo holdings Yes the HBO Archives is responsible for mining harvesting archiving and then cataloging of mostly unusedouttake footage from our various programming arms Additionally HBO Archives manages the old theatrical and then TV documentary series ldquoThe March of Timerdquo (1935ndash66) Combined there are more than four decades of material from HBO and another four decades from ldquoThe March of Timerdquo Once archived and cataloged our next step is to then market and license footage clips from our collections into a diversified marketplace We have a relatively small but dedicated team that makes HBO Archives run There are a total of eight all cross-trained to contribute in various roles With such a large library have you turned to cloud storage for the digital portion What role has technology played in the past decade since you founded the archive and how has this made your job easierharder

The core mission of HBO is to produce high-quality programming you canrsquot see anywhere else HBO Archives is an offshoot of this core business Digitally storing raw footage clips is not a priority To stay nimble and competitive we have a cutting edge digital partner who stores our cataloged clips on their server and then digitally feeds to HBO Archives From the Licensing end of our business if you are not online you are not competitive This shift started about seven years ago Virtually all significant footage clip licensing operations now have their images online with digital delivery features

HBO is also supported by a much larger division The Post Delivery Group who has the bigger responsibility of protecting all of HBOrsquos image assets HBO Archives is responsible for a smaller sub-set Along with The Post Delivery Group HBO Archives has started to explore portable hard drives for most recent materials That being said we never get rid of the original footage Film is precious and continues to be stored off-site in proper cold storage facilities The biggest challenge we face is the retired videotape formats two inch one inch D2 Umatic and BetaSP videotape reels There are fewer and fewer duplication houses that even have these older machines to playback on Transferring these older formats can be very expensive as much as $500 for a one-hour two-inch Quad reel There is no easy solution regarding these retired format tapes and time against their survival continues to tick down

Q A

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Arc

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You started at HBO in their Rights amp Clearances department of the Sports division in 1989 This was before the mass digitization of archival material which has become something of a conundrum for those in rights management with the easier dissemination of digital images How strict is HBO with rights and clearances and are you developing better ways of protecting your archives Like the other TV networks and major Hollywood studios HBO is pretty straightforward when it comes to rights and clearances We minimize as many grey areas as possible HBO Archives is a member of the not-for-profit footage licensing trade group ASCIL ASCILrsquos mission is to get together as a production community to clarify and standardize where we can the way we all do business One of ACSILrsquos big initiatives relates to the changing and growing digital world new media and multiplying platforms The old permissions process is limited in our

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BO

Arc

hive

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new digital world ACSIL is attempting to modernize the permission licensing and best practices process ACSIL also has a copyright protection group that is exploring ways to neutralize Intellectual Property pirates and abusers of Fair Use

HBO Archives is very flexible with producers who license from us We do have a standard boilerplate Agreement but it is not etched in


stone We regularly modify our Agreements in terms of clarifying grant of rights and other issues Having experience on the other end we do have a strong sense of the challenges producers sometimes have in the business of licensing footage clips The HBO Archive also functions as a picture-researching tool and it seems like you favor the ldquogive us a callrdquo approach over the ldquotype in a keyword and maybe yoursquoll get a hitrdquo approach Irsquom surprised that such a large archive would encourage person-to-person picture researching but is this just indicative of the care that goes into the HBO Archive

From the beginning we viewed our website more as a show reel to sample the range of material we have HBO holds over a million assets It is just not possible to catalog and digitize everything Additionally our team knows our collection better than anything we could offer on the website We do consider ourselves partners of the production community A researcher may have a specific want list We believe it is key to talk with that researcher to brainstorm Once we get a sense of the researcherrsquos story and sub-plots we can often offer a number of solutions that they havenrsquot considered before Speaking of ldquoThe March of Timerdquo n the past few years HBOrsquos short documentary series was revived and screened at both MoMA and on TCM The 2010s have already been described by many authors as the age of ldquoretrordquo but have you noticed a surge in the demand for these strange newsreels And can you talk a little about ldquoMarch of Timerdquo and your role in reviving the series in the HBO Archive

ldquoThe March of Timerdquo is incredibly unique For us it was love at first sight It is from the newsreel era but not like anything ever seen before ldquoThe March of Timerdquo won an Academy Award for revolutionizing the newsreel business There was no mainstream documentary movement in this country until ldquoThe March of Timerdquo hit the screens The typical Hollywood newsreel crammed about a dozen stories onto a nine-minute reel ldquoThe March of Timerdquo dedicated a full eighteen minutes to one story The Hollywood newsreel was shot more run-and-gun style while MOT had much higher production values ldquoThe March of Timerdquo had its one cinematographer training school to keep up their high standards and covered stories from around the world in a much deeper way Hollywood newsreels were more superficial and US centric The retrospectives we had at MoMA the National Gallery of Art and TCM serve as testaments of the importance and yes the sometimes quirkiness of this series We have grown the MOT licensing every year The success we have had is two-fold This is a historically significant series that we have re-catalogued with painstaking details for easier search results We hold the 35mm original films which can then be transferred to true High Definition Video Many libraries that hold newsreel films do not have the 35mm backing and cannot offer HD master transfers

Last year we also launched an initiative to re-patriot lost programs of the earliest days of HBO The most troublesome period is 1972ndash76 with Sports programming hit particularly hard This was a time period when programs were recorded on very expensive and very bulky two-inch Quad videotapes All the networks were constantly recycling with these reels burning over history each time they did it Networks regularly purged these oversized reels to save on storage costs Sports programs were often targeted as the most disposable Starting in 1972 our sports programming was wide and diversified Professional and amateur hockey and basketball professional baseball football soccer boxing tennis wrestling bowling roller derby martial arts figure skating and harness racing Olympic styled track amp field gymnastics and swimming We even broadcast roller derby HBO was like ESPN years before anyone even came up with the idea for ESPN So much of our early sports pioneer programs remain lost Our determination to reclaim our history is unwavering Yoursquove also been a documentary producer How does a passion for producing documentaries coincide for being the head of HBO Archives Can you do both

I simply love storytelling history and especially pop culture When I produced my own stories either creating or finding the perfect shot was a near obsession The right piece of footage could make a good story great I do miss being out in the field producing but we get a lot of satisfaction helping other documentarians movie producers educators and others find key missing footage to help tell their story in an even better and more compelling way For the HBO Archives team it doesnrsquot matter what side of storytelling you are coming from we all share the passion of our history our culture through footage Unique compelling unpredictable footage

Untitled-1 1 22513 417 PM

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IN MY LATE 20s I WAS STRUGGLING WITH THE RESOLUTION of what I had hoped or expected my life to look like in ldquoadulthoodrdquo and what it had become Achieving goals and trying to get ahead these things I felt were inevitable through the grand American narrative But I saw at the time and still now the real struggle there is Life is great but when you become of age with bills and children and things life can be very sobering Because of technological advances websites like Flickr and Instagram now document every moment of our American narrativesmdashboth the good and the bad parts

Back when photography was still novel picture taking was much more thoughtful and limited by resources filmprinting Today we (regular people ldquocapturing memoriesrdquo) are free to create endless photographs but what do we do with all these objects Do we carry them around like the burden of our past Of course digital allows us to conveniently store images but if theyrsquore ldquoout of sight out of mindrdquo their temporary absence allows us take even more pictures It can be overwhelming Nowadays I find that I take very few personal photos But through my attempt to reconcile my nostalgia for deliberateness in photography and

the current state of point-and-shoot glut my series I canrsquot promise to try was born

I am obsessed with the Internet and its swirling raging currents of images Context and intent are always shifting as pictures float around cyber space and I was inspired to use these pictures as my subject to create three dimensions out of the two-dimensional digital and photographic realm After all images are objects that stay with us They are physical Or at least physical in the way they impact our psyche as experienced moments

When I first started the project I was trying to recreate certain clicheacute subjects from places like Flickr where if you did a search for ldquohummingbirdrdquo you would find 10000+ images of just about the same shot I made my own hummingbird picture from a bunch of different hummingbird pictures on Flickr Now I really just look for components by searching keywords The newer work is much more about play and using these techniques Irsquove developed to tell a story rather than focusing on critiquing the idea of image making (conceptual) like I was early on

I CANrsquoT PROMISE TO TRY BRANDON JUHASZ

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rand

on Ju

hasz

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I canrsquot promise to try is my newest series Exploring themes of failure and average-ness it still employs the folded-paper dioramas made from photographs culled from the endless online databases of images But now I am pushing more for a distinct pictorial narrative using a developed language of symbols influenced more by narrative painters like Phillip Guston Dana Schutz sculptors like Tim Hawkinson and Kiki Smith and most importantly traditional American Folk artists I find that photography is more a kin to folk in its way of telling a unique and perhaps foggy and or interpreted filtered recollection of the truth

I always joke that I am a terrible photographer My training in both painting and photography and my inevitable astrologic Gemini birth rite means I know enough about the tool the camera to somehow sweet talk it into producing a good image but I use the camera as a means to make more than a photograph My work then is an extension of those twins forever battling forever trying to resolve two very different sides of the same coin This struggle is really the beginning of my work photographic work today

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(4)

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I am obsessed with the Internet and its swirling raging currents of

images


CLICKDIGITALRELEASE BYBENHIGH

SOMETIMES KNOWING WHEN TO GET A MODEL or property release can be a real hassle leading to a lot of questions Is this work going to be used commercially Does it have ANY chance of EVER being used commercially Did I even bring the right paperwork with me to get the right model release signed Thankfully yoursquove all got iPads now and instead of always carrying around a binder full of paper and trying to match names and faces after the fact there are now apps that let you snap pictures edit a bit of info and instantly send PDFs to everyone involved The first one I ever ran acrossndashndashand the one I have the most experience usingndashndashis Easy Release from ApplicationGap At $999 it is the most expensive of the apps Irsquom going to talk about but also seems to be the most flexible and full-featured The app is well thought out and it isnrsquot surprising to discover that the developer is a photographer who used to work for Getty Images himself The setup is very straightforward and easy to thumb through You can set up and copy information from shoot to shoot as well as add or subtract info as needed Unlike a lot of other apps that Irsquove tinkered with you have both the option to type in information from a model or choose to select the model info from your contacts This is notable as most of the other apps Irsquove looked at either require you to type the info in field by field each time or to have or add the model as a contact in order to use the form Another great feature of Easy Release is that it will allow you to load custom letterhead into your releases A generic release says ldquoI just downloaded this off the internetrdquo but a release with your own custom letterhead says ldquoIrsquom legithellipand I have a lawyerrdquo There is also an add-on customization pack that allows for even more fields and branding options

Overall Easy Release sits on the top of the pile for me but if yoursquore not quite ready to drop $999 there are some free apps out there to at least get you started As many of you probably know The American Society of Media Photographers has an app called Releases that has standard ASMP releases as well as promotional and Getty releases all built in You can also create new templates to speed up your workflow What donrsquot you get Custom fields branded releases or the ability to integrate with your contacts

Another option the aptly tited ldquoModel Releaserdquo from Mist Labs Inc is a slick but slightly less customizable release maker Itrsquos a bit more bare-bones than the previous two but I found its ability to adjust font size to make sure your releases each fit on one page to be particularly thoughtful

While these apps do make life easier for you it is still super important that you know what the releases are actually saying and to make sure theyrsquore covering what you need them to be Itrsquos also important to note that all of these apps allow everyone

to sign digitally right there on the screen with their finger or a stylus Some stock agencies donrsquot yet accept digital signatures so you may want that AirPrint printer nearby so you can get real-life signatures But hey maybe thatrsquoll change soon According to Easy Release there are three agencies that have publicly said theyrsquod accept Easy Release releases Getty Images Alamy and iStockPhoto Another reason spending a few dollars may be worth your while in the end To all our readers from stock image houses What are your thoughts on the digital signatures and will your policies be changing anytime soon

BYBENHIGH

DiD you know we have fine art

wwwakg-imagescom Fine Art | History | Photography

Still Standing

847-968-3381wwwTeichArchivesorg

Historic Images that Capture Time and Place

Postcard ArchivesCurtTeich

47asppcom


JOEL L HECKER ESQ

THE LAW CONDEacute NAST GETTING GRABBY

AS YOU MAY KNOW INSTAGRAM a company owned by Facebook recently claimed the legal right to license to third parties photos posted on its website by its users without such usersrsquo consent Following this trend Condeacute Nast has changed its form contracts to acquire rights to potential movies television programs and the like from authors and photographers who submit content to its publications In addition Agency France Press (ldquoAFPrdquo) in defending a copyright infringement lawsuit brought by Daniel Morel alleged that since Morel had posted his images on Twitter AFP acquired the rights granted to Twitter and therefore could use the images without the photographerrsquos consent With this constant barrage of rights grabs in the news whatrsquos really going on and how can you protect yourself

In September 2012 Instagram was acquired by Facebook which is under pressure from investors to show greater earnings as a result of now being a publicly owned company As a result Instagram recently modified its terms to include the right to allow Instagram to license photographs posted on its platform to third parties and to use these photos in advertising without first obtaining the permission of the user who posted the images Indeed this policy actually permitted such use without informing the owner

Instagram has now backtracked on this rights grab bowing to continuing and significant pressure in the form of negative feedback account cancellations and a general defection by many users to other platforms that permit the sharing of photographs without these onerous terms In a press release Kevin Systrom a co-founder of Instagram acknowledged that they made a poor business decision although he disclaimed any intent to sell content provider photographs He blamed it all on confusion and misinterpretation of legal documents Content providers were not so kind and welcomed the withdrawal of this attempt at what they perceived as an unadulterated rights grab

To mitigate the damage Instagram updated its Privacy Policy to highlight what it is calling a ldquonew collaborationrdquo and to ensure that the content providers still have control over who sees their photos This new Privacy Policy became effective on January 19 2013 However there is no certainty that this new policy will remain in place since Instagramrsquos user policies are clearly still subject to change Therefore this issue has certainly not been fully resolved On the other side of the coin is Condeacute Nast who through its various magazines including Wired Vanity Fair The New Yorker and Vogue offers a form contract to authors and photographers who supply content for their magazines which among other things determines the rights granted to Condeacute Nast These rights until now were generally limited to publication of the articles and photographs to be submitted in

INSTAGRAM recently modified its terms to include the right to allow Instagram to license photographs posted on its platform to third parties and to use these photos in advertising without first obtaining the permission of the user who posted the images

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im B

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wKim

Berenscom

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domestic and foreign editions of the Condeacute Nast magazines but the authors and photographers were recently faced with a difficult choice when Condeacute Nast unilaterally and without input from content providers amended its form contracts to provide that Condeacute Nast now has the option to obtain exclusive rights to film television and movie rights in the event material published in a Condeacute Nast publication is developed into a major feature film television program or a made-for-television movie The author or photographer would receive a minimum amount if any project gets produced with Condeacute Nast retaining the lionrsquos share Although writers and their agents and other content providers have rebelled against what they consider to be a naked rights grab it remains to be seen how many will turn down the ability to work with Condeacute Nast Condeacute Nast has justified these changes as an attempt to maximize its profit from programs made about its publications Furthermore since Condeacute Nast Entertainment Group intends to expand into digital film and television entertainment they claim to be able to bring the work of Condeacute Nast writers and photographers to those platforms and therefore be able to showcase their content in new ways as well as creating expanded opportunities for their work to be enjoyed by new audiences Needless to say content providers and their agents remain skeptical since Condeacute Nast is not a film company has basically no experience in the area and has not offered the content provider a fair share of distribution of profits by any sense Daniel Morel a photojournalist was in Haiti when the devastating January 12 2010 earthquake occurred Morel captured a number of photographs of the aftermath and posted them to Twitter through a TwitPic account Shortly thereafter a Lisandro Suero reposted these photos and tweeted that he had taken these exclusive photographs of the earthquake The photos eventually landed at AFP AFP transmitted these photographs which had been credited to Suero to Getty Images Inc for distribution worldwide Morel upon discovering that his images had been distributed by AFP and Getty without his consent and had even been wrongfully credited to Suero advised (through Corbis Inc his stock photo agency) both AFP and Getty to cease and desist from such use The images were eventually withdrawn but not before significant worldwide distribution had been made Litigation ensued in the United States District Court for the Southern District of New York In a preemptive action AFP acted first by seeking a declaratory judgment that it had not infringed Morelrsquos copyrights in these photographs Morel filed counterclaims against AFP Getty and the Washington Post which published many of the photographs asserting willful copyright infringement claims AFPrsquos principal argument in opposition to the copyright infringement claims was that it could not be held liable since Morel had in effect granted AFP

a license for such use by posting the photos on Twitter In short AFP contended that as a result of such posting Morel subjected the photos to the Terms of Service governing content posted on Twitter and TwitPic As a result claimed AFP since these Terms of Service granted certain rights to the photos to Twitter these Terms of Service by extension granted AFP a similar license The court granted Morel summary judgment against AFP for copyright infringement finding that the attempt at a rights grab through the Twitter account was not persuasive The relevant TwitPic Terms of Service stated among other things that ldquoby uploading your photos on TwitPic you give TwitPic permission to use or distribute your photos on TwitPiccom or affiliated sites All images uploaded are copyright copy their respective ownersrdquo

AFP attempted to extend these and other terms to make AFP a third party beneficiary of the license agreement between Morel and Twitter based upon the argument that the Terms of Service intended to confer a license to Twitterrsquos ldquoother usersrdquo (ie AFP) The court rejected this argument finding that the evidence did not reflect a clear intent to grant AFP any license to remove the photos from Twitter (which AFP had done) and then to license them to third parties (which it had also done) As a result the court found AFP and the Post guilty of copyright infringement but found a factual dispute as to whether or not statutory damages would apply The court also found factual issues that needed to be resolved in connection with the claims involving Getty and left those claims to be decided at trial These three separate instances of attempts at a rights grab one currently beaten back by protest one apparently successful at least at the moment and one rejected by the courts are perhaps just symptoms of our current economy where everyone is attempting to maximize profits or at least escape liability I am sure we will hear more concerning these subjects in the future But I canrsquot stress enough that content creators should heavily weigh the benefits you would receive from signing these contracts or not signing them Of course getting your work out to the masses is by and large a significant plus but if you should decide to sign a rights grab contract yoursquod be forfeiting any future use or evolution of your work Is it more important to get your work seen immediately or building and owning your own portfolio for the future your greatest concern Remember that if you stay informed the ball will stay in your court and negotiating for a new contract is always possible as long as you know your value consult a lawyer watch out for rights-grabbing language and steer clear of the lip service Get it all on paper


CHAPTER CAPTUREDCSOUTH bull NEW YORK

A wonderful variety of delicious cupcakes from Georgetown Cupcakes was shared with the attendees

All

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Mik

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ages

ASPP members take notes during the Smart Business Skills for the Modern Day Photographer workshop

Attorney and Business Consult Skyler Showell shares his knowledge of tax law during the workshop

Studio A at Boston University Center for Digital Imaging Arts (BUCDIA) in the Georgetown area of Washington DC provided great space for the Smart Business Skills for the Modern Day Photographer workshop

Mary Kate Battles with Mary Kate McKenna Photography shares her tips and tricks for staying organized and streamlining tasks

DCSOUTH

SMART BUSINESS SKILLS FOR THE MODENDAY PHOTOGRAPHER

Jennifer Davis Heffner

More than 60 photographers in the DC Metro area started 2013 off by attending a workshop put on by ASPP DCSouth Chapter and Women Photojournalists of Washington Hosted by the Boston University Center for Digital Imaging Arts (BUCDIA) in the Georgetown area of Washington DC the workshop started bright and early Saturday January 5 with Jenika McDavitt author of Psychology for Photographers who gave us insight on finding and reaching your ideal client using psychology principals

The second speaker was Jessica Shepard a photographer and internet Guru who shared her tips and tricks on how to build your business using search engine optimization and after a lunch break the workshop continued with Kristin Heydt owner of Maypole a marketing and communications company She gave us the 411 on marketing and social media to help grow your business

After a cupcake break with variety goodies from the famous Georgetown Cupcakes we continued with the next speaker Skyler Showell a New York- and DC-based lawyer and business consultant Skyler shared his knowledge on developing and sustaining smart business practices The last speaker of the day was Mary Kate Battles with Mary Kate McKenna Photography Mary Kate gave some wonderful real-life examples of dealing with different types of clients as well as sharing the skills she uses on a daily basis to connect with new clients The day ended with door prizes and a wonderful happy hour of networking

51asppcom

CH

AP

TE

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AP

TU

RE

All images copy Jessica Moon

Top Barbara Cohen-Stratyner curator of the Martha Swope exhibition at the New York Public Library discusses the images with ASPP members

Bottom Members of the NY Chapter listen intently to curator Barbara Cohen-Stratyner during her talk

NEW YORK

A MORNING WITH ldquoMARTHA SWOPErdquoIN REHEARSALRon Steinman

On Saturday January 12 2013 I walked with a friend to the library where hot coffee and pastries accompanied the Martha Swope In Rehearsal exhibition at the New York Public Library for the Performing Arts (LPA) a tour of which was sponsored by the ASPP New York chapter Chapter co-presidents Daniella Nilva Cunningham and Jessica Moon warmly greeted us and joining ASPP members and friends we embarked on a tour guided by LPTrsquos affable and knowledgeable curator of the exhibition Barbara Cohen-Stratyner

Martha Swope is one of the most incomparable theater and dance photographers of the Twentieth Century The exhibition had more than 100 images culled from Swopersquos donation in 2010 to the LPA a major repository for dance and theater images Her bequest included her entire collection of more than 15 million images ranging from contact sheets and negatives to slides and prints Swopersquos exhibit selection focuses on preparation whether a drama a musical or the ballet it is important for the artist to rehearse away from the eyes of critics and the audience Rehearsals must always take place in private out of sight of what could be prying ormdashmore to the pointmdashannoying and interfering eyes

Rarely are outsiders privy to what goes on behind the scenes as a show or dance hashes out its way up to that magic moment when the curtain rises and the lights go on Tensions are often high Unlike most photographers Martha Swope was always welcome at rehearsals How did she earn that privilege When Martha Swope first came to New York from a small town in Texas she enrolled at the School of American Ballet aspiring to become a ballerina As a young student she carried with her a Brownie camera curiosity and a discerning eye Unknown to her then photography would prove to be a hidden talent

As a dancer she understood how to capture theater and dance artists at work in a unique way Her career spans forty-years as the official dance and theater photographer for The New York Times the New York City Ballet and Martha Grahamrsquos Dance Company Many of the images in the exhibition are making their first appearance in public Though some shots were posed most were not Seeing these intimate special access photos of Stephen Sondheim George Balanchine Igor Stravinsky the creators of West Side Story Kevin Kline Richard Burton and Elizabeth Taylor among many others was worth the visit thanks to ASPP and the eventrsquos sponsor the Everett Collection

American Society of Picture Professionals

wwwnatureplcom011 44 117 911 4675

global coverage

unique images

specialist research

competitive pricing

supporting conservation

features service

All images from the Meet Your Neighbours project

white_black chosenLayout 1 21812 1703 Page 2

PHONE 2129300091

EMAILpermissionsnyplorg

Now Availabledigitalgallerynyplorg

KennDuncanCollection

53asppcom


global coverage

unique images

specialist research

competitive pricing


features service




1-888-450-3040AHPASPP stands behind all of our programs and guarantees 100 satisfaction

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Because you have ldquoArdquo rated insurance carriers from ASPP and Association Health amp Business Programs

1912 Pennsylvania Delegation Chicago Photo Courtesy of George Grantham Bain Collection (Library of Congress)

Why are these men cheering

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Retouching bull Color Correction bull Image Enhancement

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IN 1995 THE NEW YORK STATE MUSEUM staff were moving items out of The Willard Psychiatric Center as it was being closed An attic full of suitcases was discovered in the pathology lab building The cases were put into storage when their owners were admitted to Willard and since the facility was set up to help people with chronic mental illness these folks never left The Museum made arrangements to have the suitcases moved to their Rotterdam storage facility where staff meticulously catalogued each one and carefully wrapped and preserved their contents Amherst MA photographer Jon Crispin tenderly documented the ghostly remains of the patientsrsquo personal belongings and tells TPP how the Museum and Willard staffers were able to preserve the hidden cache of luggage as part of the museumrsquos permanent collection

I had heard about the Willard Asylum suitcases long before I was able to start photographing them I was eager to get access to the collection and was most fortunate to receive permission form the New York State Museum to begin the documentation

As happens with most of the long-term projects I have done I started with no clear idea of how I would actually go about doing the work The cases had been catalogued by the staff at the museum and each item inside was given a unique number and then wrapped in archival materials for preservation The items were then placed back into their original suitcase which was then covered in white acid free paper and secured with string On the first day of shooting I set up my seamless background and lights As I placed the very first wrapped suitcase on my background I knew immediately that I wanted to not only show the cases and their contents but the care that the staff had shown in preserving them

The process was quite simple I would photograph a wrapped case then the partially unwrapped case then the case itself with no wrapping and finally the contents which I usually laid out in or around the suitcase The most difficult part was replacing the objects in their original wrapping I was fortunate that early on I was able to hire Peggy Ross as an assistant and she set up a great system for keeping us organized I used full frame digital cameras for the project and relied primarily on a 105mm micro lens

The collection contains roughly 400 cases of which I have photographed 80 using funding that was secured through a successful Kickstarter campaign that raised close to $20000 I took a break from shooting to concentrate on editing those first 80 and plan to return to the project sometime in the next few months My photographs will be part of the exhibit ldquoThe Changing Face of What is Normalrdquo which opens at the Exploratorium in San Francisco on April 17 2013

View more suitcases on Jonrsquos Wordpress site joncrispinwordpresscomtagwillard-suitcases

JON CRISPIN

Willard Suitcase 14 Peter (2) Each case included the Museumrsquos internal tag 85 is the number assigned to Peterrsquos suitcase by Willard staff 273581 is the unique patient number assigned on intake into the institution 9520 is the Museumrsquos catalogue number The close-up shows how Willard staff numbered and described the cases

ON PRESERVING THE WILLARD SUITCASES

57asppcom

Willard Suitcase 5 Mary I havenrsquot any idea what I will find when I unwrap the cases This one felt a bit heavier than others and when I opened it it was mostly filled with fabric and lace that I am assuming Mary had made

Willard Suitcase 13 Steffan (2) I especially appreciated the way that the staff wrapped and preserved the individual interior items My interest in the wrappings and the bows has actually increased The three women that did most of the work each had a different style Museum staff Sarah Jastremsky Christine Allen and Karen Chambers worked for months going through the cases cataloguing and then stabilizing each item The curator Craig Williams was responsible for bringing the collection to the museum

Willard Suitcase 10 Eleanor (2) The way in which the museum wrapped these suitcases really resonates with me on this one It might be a bit difficult to make out but the bow on this dress so resembles the way the string is tied on the outside of the wrapped cases that I immediately made a connection between the two

Willard Suitcase 19 Dmytre In the early 1950s Dmytre was committed to Syracuse Psychopathic Hospital and in 1953 was sent to Willard He was there until 1977 and was discharged to a county home His was an interesting case to photograph as the contents seemed so personal

All images copyJon Crispin


Like famed portrait photographer Arnold Newman Iain McKell was raised in a seaside hotel in Weymouth and got his first job snapping portraits of tourists on day trips to the shore But where Newman turned that experience into meticulously composed psychological portraits of the powerful and famous McKell found a deep love of local weirdos and a desire to capture sympathetic subjective images of the fringes of British culture

Throughout Beautiful Britain that sense of connection to the wonderfully weirdmdashDiane Arbus was a big inspiration for McKellmdashpermeates his loose snapshot style Therersquos no objective distance or reserved framing of McKellrsquos shots of slaggy skinheads rolling ravers or soft-eyed gypsies in the introductory essay by William Oliver McKell tells him ldquoThatrsquos what I really understand For me itrsquos about

Kingrsquos Cross 1980 copy Iain McKell

living those moments Irsquom observing but at the same time Irsquom projectingrdquo

McKellrsquos work can best be seen through that desire to construct an identity tying bridal gowns to boots and braces He returns again and again to people in costumes from the shot of the boy in the Batman mask that opens the book to revelers at the Summerset Carnival from teenagers striking fashion poses to fat men in fetish drag In the hands of someone else the shots could come off sneering or exploitative but McKell instead makes them intimate and relaxed

In Beautiful Britain McKell sets out to catalogue all of the diversity and eccentricity of the island and ends up with a fun broad and slightly scuzzy portrait of modern life

- JOSH STEICHMANN

Beautiful BritainIain McKellPrestelHardcover 192 pages$3995

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Street Photography NowSophie Howarth and Stephen McLarenThames amp HudsonPaperback 240 pages$2995

OK I know ldquostreet photographyrdquo has a long and distinguished history to it Eugene Atget Brassaiuml Robert Frank and Elliott Erwitt are just a few of the names recognized as its most astute practitioners with Cartier-Bresson (ldquothe decisive momentrdquo) pretty much universally recognized as the Michael Jordan of the genre But I also have to admit my bias As a former commercial photographer and later as a specialist in the stock photography field where control and perfection were key elements in producing imagery that would satisfy client needs I often saw ldquostreet photographyrdquo as an easy out for shooters who were too lazy to learn the finer points of composition and lighting And while even in this otherwise deeply engaging book I can point to some images that seem mundane or poorly crafted for the most part Street Photography Now succeeds in illustrating both the vibrancy and relevancy of todayrsquos street specialists (as the authors point out in their introduction ldquoStreet photography has undergone a resurgence Flickr hosts over 400 dedicated street photography groups comprising nearly half a million membersrdquo)

While China certainly appears to be the flavor-of-the-month destination for many street shooters the locations captured in Howarth and McLarenrsquos book reinforce the concept that we reside in a global village which not only invites but almost demands to be photographed whether in Sydney Hamburg New York or Durban No state no matter how aggressively it attempts to control its media seems immune from the probing lens of the street photographer even in places like Cuba or Russia

And subject matter Hey itrsquos the streets so anything goes but people dominate over things and there seem to be two divergent schools of thought (or seeing) at work here one brand of street shooter likes to move in for the close-up while the other group favors keeping a safe distance from their subjects For example while both Bruce Gilden and Trent Parke work in black and white Gilden brings a Diane Arbus-like claustrophobic sensibility to his in-your-face portraits of his fellow New Yorkers while Aussie Parke generally hangs back and often allows for more breathing space around the frame Similarly Londonrsquos Polly Braden has spent over 15 years filling frames with color imagery that documents the transformation of China from collectivism to capitalism with all the extremes and contradictions that implies (one extraordinary image nicely displayed over a page and a third is a night scene that beautifully captures an aged woman who most likely grew up under Mao passing by a window display of lavish wedding gowns that would probably have The Chairman rolling in his grave) Frenchman Thierry Girard has also made the worldrsquos most populous country one of his prime subjects but with

far different results he works in a far more deliberate manner necessitated by shooting the streets with a tripod-mounted medium format camera with results that are more detached than Bradenrsquos but no less fascinating

For my money the best of the street photography is that which coveys humorous or startling moments and juxtapositions That after all truly seems to be the raison drsquoetre of the street photographer to capture those quirky moments that most of us miss as we carry on with our ldquonormalrdquo days and remind us of what wersquore missing Howarth and McLaren state that ldquohumor has long formed as valid a part of the lexicon of street photography as more earnest social documentaryrdquo And thus we have Maciej Dakowiczrsquos Cardiff party people enjoying late night snacks while surrounded by a sea of refuse Melanie Einzigrsquos dude in an outrageous yellow get-up who seems engrossed in his knitting while taking the 6 train in New York (and since itrsquos NYC no one takes notice) David Gibsonrsquos billboard worker on a ladder who appears to be unabashedly stimulating a female breast with his brush-on-a-stick Nils Jorgensenrsquos London bus passenger having a stare-down contest with a passing transit ad and Jeff Mermelsteinrsquos knees-down perspective on a woman apparently taking her pet iguana for a walk (Really REALLY)

There is no question that many of the images in ldquoStreet Photography Nowrdquo leave us to guess whatrsquos going on and make up our own stories As Trent Parke says ldquoMy photographs are more questions than answersrdquo Not all street photography succeeds of course because of necessity it requires giving up that control aspect that Irsquove always valued in my own photography and instead relying upon gut instincts cat-like reactions and a healthy dose of serendipity New Yorkrsquos Markus Hartel perhaps said it best ldquoStreet photography is like gambling You get lucky or you get nothingrdquo Count yourself lucky if you get a hold of a copy of this compelling survey of photographic life on the streets

- PAUL H HENNING

copy Polly Braden XiamenNightwalk China 2007


SPOTLIGHT REVIEW

LaundromatSnorri BrospowerHouseHardcover 160 pages$4000

Brooklynrsquos powerHouse Books is aptly named as every season brings new delights with gorgeous designs and a thoughtful approach to bookmaking The Snorri Bros Laundromat book is no exception Both a cultural document and an aesthetic wonder the colorful photographs herein seek to catalogue one of the last community gathering places left in New York City where people of from all backgrounds must sojourn Also a testament to the wonders of typography most of the Laundromats photographed carry the relics of a time when varying disparate fonts could somehow live in close capacity and be beautiful but of course more is always better right We urge all you readers to take a look at the powerHouse Spring season to find more great titles TPP makes a practice of drooling over their catalogues which are thankfully digital so they wonrsquot get wet

copy Snorri Bros

60

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OK

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Advertisers receive a 10 discount when purchasing ad space in all four issues at once We also offer double page spreads and advetorials upon request and availability

Submission amp Publication DatesIssue Format artwork DeaDlIne PublIcatIon Date

1 Spring print February 20 end March

Digital May 3 mid-May

2 SuMMer print May 20 end June

Digital August 3 mid-August

3 FAll print August 20 end September

Digital november 3 mid-november

4 Winter print november 20 end December

Digital February 3 mid-February

Placement sIngle Issue 4 Issue DIscount

Back cover 1650 1485

InsIde covers 1250 1125

Full Page 800 720

HalF Page 500 450

Quarter Page 250 225

eIgHtH Page 125 115

PUblICATIoN CAlENDAr

AD rATES

Yoursquoll be reaching

retouchers writers

agents multimedia

designers web

publishers digital

experts photo

editors researchers

image buyers

app developers

consultants

historians art buyers

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amp asset managers

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librarians curators

footagemotion

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content creators

PROFESSIONAL

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E

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CONTRIBUTORS


copy R

hombie Sandoval rhom

biecom

JOEL L HECKER ESQ Practices in every aspect of photography and visual arts law including copyright licensing publishing contracts privacy rights and other intellectual property issues and acts as general counsel to photography and content-related businesses In addition to writing for The Picture Professional Hecker lectures and writes on these issues in PhotoStockNotes the New York Bar Association Journal and the associationrsquos Entertainment Arts and Sports Law Journal He is a past trustee of the Copyright Society of the USA and past chair of the Copyright and Literary Property Committee of the New York City Bar Association Tel 2124479600 website RussoandBurkecom email HeckerEsqaolcom

JON CRISPIN has been working as a photographer his entire adult life His work is divided between assignments long-term photo documentary projects and personal work He lives in Amherst MA The first time JOSH STEICHMANN got paid for photography was when he turned a snack shack at a summer camp into a 12-foot by 12-foot pinhole camera Since then hersquos had a love of alternative processes creative risk taking and mural prints Working as a writer hersquos covered everything from Elvis festivals to US Code 2257 and plenty in between As a photographer hersquos shown across Michigan and can usually be found jumping Los Angeles fences with a home-hacked Holga

BEN HIGH is an Iowan turned Angeleno turned Iowan He used to be a music industry wonk and commercial photographer Now he designs fancy (sometimes photography-related) jewelry and shoots Polaroid and instant film You can see what hersquos up to at benhighcom

PAUL H HENNING was a professional location photographer for 15 years He co-founded and directed Third Coast Stock Source and was manager of European operations for Comstock Picture Agency in London Hersquos served as acting managing director at the Robert Harding Picture Library and is the founder of Stock Answers a consultancy that works with stock picture agencies and photographers worldwide Paul also serves as the director of business development for Tetra Images a New Jersey-based royalty-free image production company

RANDY TAYLOR started as a photojournalist covering worldwide events on staff for Associated Press in Paris and for LrsquoAgence Sygma in Miami Randy then co-founded International Color Stock and later became Vice President of the Press Division at Liaison Agency Beyond photojournalism Randyrsquos pro-bono and industry creations include C-Registryus Veripixeltrade the numbering system for and assembly of the PLUS Media Matrix Keyword Compiler keywording software Stock Media Creators Circle Magazine Extreme Niche Marketing and StockPhotoFinder which searched 50 million stock photos at its peak An ASPP member Randy is a major proponent of copyright and has most recently been helping photographers and photo agencies to battle online copyright infringements

JOHN SPAULDING is a photographer and photo editor based in Silver Spring MD Formerly head of promotional production photography for Discovery Channel John left Discovery in 2003 to establish himself as a freelancer John shoots for a variety of corporate and editorial clients

JENNY RESPRESS started speaking at fourteen months of age and hasnrsquot stopped since When she isnrsquot busy finding hilarity in the absurd she can be found playing with her Shih Tzu Oliver She lives in Boise Idaho and is currently the social media manager of The Picture Professional and an e-news blog editor for ASPP


copy Stella Kalinina bull wwwstellakalininacom

LIFE IN FOCUS

Rodina (homeland) is a collection of images from my trips to see my family in Russia and Ukraine During these trips I am overcome with bittersweet nostalgia seeing the beauty gentleness and sometimes roughness of my culture yet realizing a level of separation between myself and my culture and people that is at once real and painful I am overcome with memories of my childhood and perhaps it is these innocent happy images mimicking my memories that I seek to capture during my tripsndash STELLA KALININA


ISSU

E 1

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3

PROFESSIONAL

TH

E





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TABLE OF CONTENTS










CLICK 42BenHigh





CHAPTERCAPTURE 49

CONTRIBUTORS 63



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PHOBIAcopy

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AGORAPHOBIA

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C

M

Y

CM

MY

CY

CMY

K




COUPLE JAM


copy P

hoto

grap

her H

al


21asppcom

COUPLE JAM

copy P

hoto

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her H

al

copy P

hoto

grap

her H

al


copy P

hoto

grap

her H

al

23asppcom

copy P

hoto

grap

her H

al


copy P

hoto

grap

her H

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copy P

hoto

grap

her H

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Pre

mie

re o

f Ser

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llet

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of S

prin

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avin

ski

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13 copy

Rog

er-V

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13 copy

Rog

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Wor

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BY RANDY TAYLOR


copy Randy Taylor






copy R

andy

Tay

lor (

3)

31asppcom


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andy

Tay

lor (

4)

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SECOND SHIFT






35asppcom

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hn S

paul

ding

(3)


36





Q A

copy H

BO

Arc

hive

s

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copy H

BO

Arc

hive

s (3)


copy H

BO

Arc

hive

s










39asppcom









copy B

rand

on Ju

hasz

41asppcom






rand

on Ju

hasz

(4)

43asppcom


images








BYBENHIGH



Still Standing




47asppcom


JOEL L HECKER ESQ







copy K

im B

erens ww

wKim

Berenscom

49asppcom







All

phot

os copy

Mik

e H

effn

erV

ita Im

ages





DCSOUTH






51asppcom

CH

AP

TE

R C

AP

TU

RE




NEW YORK








global coverage

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specialist research

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PHONE 2129300091




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global coverage

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specialist research

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Member

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Member

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Aft

er

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re











JON CRISPIN



57asppcom













- JOSH STEICHMANN


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- PAUL H HENNING



SPOTLIGHT REVIEW



copy Snorri Bros

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Full Page 800 720

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AD rATES


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PROFESSIONAL

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E

PICTURETH

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CONTRIBUTORS


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biecom










LIFE IN FOCUS




1asppcom

TABLE OF CONTENTS










CLICK 42BenHigh





CHAPTERCAPTURE 49

CONTRIBUTORS 63



LIST OF ADVERTISERS

MASTHEAD






















Ohio Mandy Groszko















3asppcom









ILLUSTRATIONNAVAL

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PROPAGANDA

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FASHION

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DEAR PICTURE PROS










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PEACE


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HOME FRONT CARNAGE



NEWSPAPERS




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ecile

Ann

e In

ga




corbisimagescom











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AN

GIN

G











11asppcom

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AT

rsquoS H

AN

GIN

G








copy N

icho

las K

ahn

amp R

icha

rd S

eles

nick


13asppcom

copy N

icho

las K

ahn

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rd S

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nick


PHOBIAcopy

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Ric

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esni

ck




copy N

icho

las K

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amp R

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15asppcom



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las K

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copy N

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las K

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copy N

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AGORAPHOBIA

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copy N

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las K

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C

M

Y

CM

MY

CY

CMY

K




COUPLE JAM


copy P

hoto

grap

her H

al


21asppcom

COUPLE JAM

copy P

hoto

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her H

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copy P

hoto

grap

her H

al


copy P

hoto

grap

her H

al

23asppcom

copy P

hoto

grap

her H

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copy P

hoto

grap

her H

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copy P

hoto

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her H

al





Pre

mie

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f Ser

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iagh

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llet

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Igor

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Par

is F

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13 copy

Rog

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Pre

mie

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Igor

Str

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Par

is F

ranc

e 19

13 copy

Rog

er-V

iolle

t T

he Im

age

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ks












BY RANDY TAYLOR


copy Randy Taylor






copy R

andy

Tay

lor (

3)

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andy

Tay

lor (

4)

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SECOND SHIFT






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hn S

paul

ding

(3)


36





Q A

copy H

BO

Arc

hive

s

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BO

Arc

hive

s (3)


copy H

BO

Arc

hive

s










39asppcom









copy B

rand

on Ju

hasz

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rand

on Ju

hasz

(4)

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images








BYBENHIGH



Still Standing




47asppcom


JOEL L HECKER ESQ







copy K

im B

erens ww

wKim

Berenscom

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All

phot

os copy

Mik

e H

effn

erV

ita Im

ages





DCSOUTH






51asppcom

CH

AP

TE

R C

AP

TU

RE




NEW YORK








global coverage

unique images

specialist research

competitive pricing


features service



PHONE 2129300091




53asppcom


global coverage

unique images

specialist research

competitive pricing


features service













Member

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Member

Benefit

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er

Befo

re











JON CRISPIN



57asppcom













- JOSH STEICHMANN


BO

OK

RE

VIE

WS

59asppcom










- PAUL H HENNING



SPOTLIGHT REVIEW



copy Snorri Bros

60

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OK

RE

VIE

WS

TH

E

61asppcom














Full Page 800 720

HalF Page 500 450


eIgHtH Page 125 115


AD rATES


retouchers writers

agents multimedia

designers web

publishers digital

experts photo

editors researchers

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students permission

desks marketers

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footagemotion

makers metadata

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PROFESSIONAL

TH

E

PICTURETH

E



63asppcom

CONTRIBUTORS


copy R


biecom










LIFE IN FOCUS


1asppcom

TABLE OF CONTENTS










CLICK 42BenHigh





CHAPTERCAPTURE 49

CONTRIBUTORS 63



LIST OF ADVERTISERS

MASTHEAD






















Ohio Mandy Groszko















3asppcom









ILLUSTRATIONNAVAL

GERMANY

INFLUENZA

AFRICAN AMERICAN

FRANCE

PROPAGANDA

ENGLAND

FILM

PEACE


FASHION

RUSSIA LENIN


RECRUITMENT

TANKS

HOME FRONT CARNAGE



NEWSPAPERS

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ob S

chm

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Pho

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DEAR PICTURE PROS










ILLUSTRATIONNAVAL

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AFRICAN AMERICAN

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PROPAGANDA

ENGLAND

FILM

PEACE


FASHION

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RECRUITMENT

TANKS

HOME FRONT CARNAGE



NEWSPAPERS




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ecile

Ann

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ga




corbisimagescom











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AT

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AN

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G











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AT

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AN

GIN

G








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icho

las K

ahn

amp R

icha

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icho

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PHOBIAcopy

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hola

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Date post:	13-Mar-2016
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Issue 1, 2013: ASPP's The Picture Professional Magazine

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