Issue 3, 2011: ASPP's The Picture Professional Magazine

THE PICTURE PROFESSIONALQUARTERLY MAGAZINE OF THE AMERICAN SOCIETY OF PICTURE PROFESSIONALS ISSUE 3 / 2011

PORTFOLIO:Minden Pictures InternationalYear of Forests

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16 ONE HUNDRED MILLION IMAGESWhat is truly amazing is not how many images are available in PacaSearch, but that trademark, copyright and release issues have been addressed for all of them • By Pat Hunt

28 PORTFOLIO: FORESTS ARE MORE THAN TREES AT MINDEN PICTURES

Sunbeams break through beech woodland in Hertfordshire, England in this image by Nick Spurling/Minden Pictures. Woodlands once covered almost 90 percent of the U.K.’s land area but now covers only about 12 percent. To see more on forests, turn to “Portfolio: Forests Are More than Trees at Minden Pictures” by Miriam Stein. Page 28

44 TALKING PHOTOGRAPHY: OF BRIDEZILLAS AND THE NEW WEDDING DICHOTOMY

How wedding photography has changed...again • By Frank Van Riper

14 THE HOW AND TAO OF BACKUPGuys, there’s an app for that • By Sam Merrell

52 CHAPTER CAPTUREChapter meetings nationwide

58 BOOK REVIEWS

ABOUT THE COVER

CONTENTS / ISSUE 3 2011

© Cyril Ruoso/Minden Pictures

46 THE LAW: CARIOU VS. PRINCEAn appropriation artist infringes a photographer’s copyrightBy Joel L. Hecker, Esq.

18 OPENING OUR EYESSix continents, 99 days, 11 people • By Gail Mooney and Erin Kelly

FEATURES

PORTFOLIOS

DEPARTMENTS

5 PRESIDENT’S MESSAGEBy Michael D. Masterson, ASPP National President

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

8 WHAT’S HANGINGPhoto exhibitions near you

© Patrick Cariou

What we’re reading

By Miriam A. Stein

© Gail Mooney

© 2011 Elizabeth Etienne

70 CONTRIBUTORSWriting for this issue

“Among Giants”

72 LIFE IN FOCUSA memorable event

38 MUSEUM OF RUSSIAN ICONSSometimes hidden treasures are closest to home • By Sharon Donahue

42 iPAD VS. PRINTHow do you prefer to view a portfolio? • By Meg Moss

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American Society of Picture Professionals

LIST OF ADVERTISERS

MASTHEAD

We are a community of image experts committed to sharing our experience and knowledge throughout the industry. We provide professional networking and educational opportunities. If you create, edit, license, manage or publish images, ASPP is the place for you.

ASPP Executive Offices 217 Palos Verdes Blvd., #700 Redondo Beach CA 90277 Tel: 424.247.9944 Fax: 424.247.9844 [email protected]

Editorial Staff Jain Lemos - Publisher Niki Barrie - Editor-in-Chief Ophelia Chong - Art Director Miriam A. Stein - Photo Editor

Contributing WritersNiki BarrieSharon DonahueJoel L. Hecker, Esq.Paul H. HenningPat HuntErin KellyJain LemosSam MerrellGail MooneyMeg MossBrian SeedRachel SeedMiriam SteinFrank Van Riper

2010-2011 National Board of Directors

President Michael Masterson

Vice President Holly Marshall

Secretary Sidney Hastings

Treasurer Mary Fran Loftus

Membership Maggie Fellner Hunt

Technology co-chairs Cecilia de Querol Sam Merrell

Past President Amy Wynn

2011 Chapter Presidents

West Coast Mark Ippolito Ellen Herbert

Midwest George Sinclair Wendy Zieger

New England Debra LaKind Jennifer Riley

New York Dayna Bealy Jessica Moon

DC/South Lori Epstein

2011 Sub-Chapter Vice Presidents

Bay Area Mike Kahn

Minnesota Julie Caruso

Missouri Sid Hastings

Ohio Mandy Groszko

Wisconsin Paul H. Henning

Advertising & Executive Offices Jain Lemos Executive Director

Editorial Niki Barrie [email protected] Tel: 585.663.8009

National President Michael Masterson [email protected]

Membership Maggie Fellner Hunt [email protected]

Website (www.aspp.com) Daryl Geraci [email protected] Tel: 602.561.9535

• The American Society of Picture Professionals (ASPP) is a community of image experts committed to sharing their experience and knowledge throughout the industry and to promoting the professional and educational advancement of members. This non-profit, non-partisan association provides networking and educational opportunities for those who create, edit, research, license, manage or publish visual media. The Picture Profes-sional (ISSN 1084-3701) is published spring, summer, fall and winter as a forum for distribution of information about use, purchase and sale of imagery. • ASPP is dedicated to promoting and maintaining high professional standards and ethics and cooperates with organizations that have similar or allied interests. We welcome the submission of articles and news from all sources, on all aspects of the imagery profession. Send articles and accompanying illustrations with clear captions and credit lines. All unsolicited material submitted will be kept unless a stamped, self-addressed envelope is enclosed for return. Editorial address: Niki Barrie, 374 N. Burley Road, Rochester NY 14612.• 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, $40.00 per year to non-members. Back issues: $10.00 when available. Non-members are invited to consider membership in ASPP. Address changes: Send both old and new addresses to the National Office or update your individual profile in the Member Area on our website at www.aspp.com. • ©2011 American Society of Picture Professionals, Inc. Single photocopies of materials protected by this copyright may be made for noncommercial pursuit of scholarship or research. For permission to republish any part of this publication, contact the Editor-in-Chief. ASPP assumes no responsibility for the statements and opinions advanced by the contributors to the Society’s publications. Editorial views do not necessarily represent the official position of ASPP. Acceptance of an advertisement does not imply endorsement by ASPP of any product or service.

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

Adobe SendNowage fotostockakg-imagesArchive FarmsArt ResourceAssociation Health ProgramsAurora PhotosBiosphotoBluegreen PicturesBridgeman Art Library

Curt Teich Postcard ArchivesCustom Medical StockDan Suzio PhotographyDanita Delimont Stock AgencyFundamental PhotographsGoodman/Van Riper PhotographyJason Lauré PhotographyLandovLevine Roberts PhotographyMinden Pictures

Nature Picture LibraryPhotolibraryPicture Archive Council of AmericaScience FactionScience Source/Photo ResearchersSisters Image ResearchSovfoto/EastfotoTerri Wright Image Research & DesignThe Granger CollectionThe Image Works

The Museum of the City of New YorkTime & Life PicturesTravel USA Stock PhotoVIREO/The Academy of Natural SciencesVisual ConnectionsYoung Photographers AllianceZooid Pictures

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PRESIDENT’SMESSAGE

erhaba* Picture Pros!

One of the best rewards of serving as your national president is representing the ASPP at industry events and conferences. It’s always restorative to connect with one’s peers and realize that your issues and challenges are also theirs. Both Jain Lemos, ASPP executive director, and I had that experience when attending the recent CEPIC congress in Istanbul, Turkey. CEPIC (Coordination of European Picture Agencies Stock, Press and Heritage—shouldn’t the acronym be CEPASPH?) has an annual conference that draws hundreds of attendees from around the world. It is an extraordinary opportunity to connect with stock agents and related vendors as well as other photography associations.

This year was the second time CEPIC hosted an industry roundtable for organizations and businesses to share common concerns and experiences. The primary focus of this get-together was solutions to the orphan works problem in the picture industry. Chaired by Christina Vaughan, CEPIC president, the session attempted to frame the state of orphan works legislation and technology in Europe and the United States. There were presentations from ICOMP (Initiative for a Competitive Online Marketplace), Arrow Plus (an EU-funded orphan works management program), BAPLA (British Association of Picture Libraries and Agencies), a delightful short film on researching an orphan work from AKG Images and many others.

Eugene Mopsik (American Society of Media Photographers), Christopher Reed (U.S. Copyright

Michael MastersonASPP National President

© Jain Lemos

Office) and Nancy Wolff (representing PACA) gave us an excellent update on orphan works legislation and life after the Google book settlement in the United States. But, the most compelling presentation came from Slovakian photographer Peter Bielik whose father’s iconic image of a man baring his chest to a tank during the Soviet-led invasion of Czechoslovakia in 1968 was wrongly determined to be an “orphan.” The story of his and his family’s struggle to have the image properly presented, credited and copyrighted was astounding.

Jain and I came armed with one very significant calling card: the magazine you’re holding. Actually, it was the previous issue of The Picture Professional of course. With its sparkling new design and compelling content, the magazine impressed everyone who saw it. In fact, you’ll see several new advertisers in upcoming editions as a result. But another result was that many of the attendees saw the ASPP in a new light. They saw us as a vital organizational link to the photo industry, unique in our mission and membership.

It’s important for ASPP to be a player on the world stage, and being at CEPIC again this year brought home that point. We offer a perspective that differs from any other organization here or abroad. You are part of a very special group. Thanks for your support of ASPP.

Best as always,

Michael D. [email protected]

* Turkish for “Hello!”

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WHAT’S HANGING

California

Annenberg Space for Photography2000 Avenue of the Stars, #10Los AngelesThrough November 27, 2011

“Beauty Culture”

This exhibition provides an examina-tion of photography’s role in capturing and defining notions of modern female beauty and how these images profoundly influence our lives in both celebratory and disturbing ways. Included are diverse viewpoints: the traditional and uncon-ventional; stereotypes; the link between beauty and violence; glamour and sexual-ity and more. Some 100 fine art, beauty and fashion photographers are featured, and their images encourage a discussion of the allure of female beauty and the cult-like glorification and multibillion dollar industries that surround it. More than 170 images are included in the print gallery and hundreds of digital images are on high-resolution screens in the Digital Gallery, which also includes a short docu-mentary film that expands on the themes of the exhibit. The film includes inter-views with well-known photographers, models, historians and beauty experts. The exhibit includes some graphic imag-es such as those that show explicit medi-cal procedures and nudity. Some of the photographers included: Lauren Green-field, Sofia Sanchez & Mauro Mongiello, Susan Anderson, Albert Watson and Mary Ellen Mark.

J. Paul Getty Museum17985 Pacific Coast HighwayPacific PalisadesOctober 25, 2011-March 11, 2012

“Lyonel Feininger: Photographs, 1928-1939”

Lyonel Feininger was the first master ap-pointed to the newly established Bauhaus in Weimar, Germany, in 1919. He turned to photography as a tool to explore trans-parency, reflection, night imagery and the effects of light and shadow. This is the first comprehensive overview of little-known images by one of the most important art-ists of the twentieth century, according to the museum. The presentation at Getty is accompanied by a selection of Bauhaus photographs from the museum’s permanent collection. See “Book Reviews” in this issue for a review of Lyonel Feininger: Photographs, 1928-1939 by Laura Muir, Nathan Timpano and Lyonel Feininger, reviewed by Brian Seed.

SFMOMA151 Third StreetSan FranciscoAugust 27, 2011-February 20, 2012

“Less and More: Design Ethos of Dieter Rams”

Dieter Rams is widely regarded as one of the most influential industrial designers of our time. Many of his works have achieved icon-ic status, while his ideas—in particular his advocacy for “less but better” design—have proved formative for a contemporary culture concerned with design ethics and sustain-ability. For more than 40 years, Rams was the lead designer for the German housewares company, Braun, and the British furniture company Vitsoe. The exhibition presents a survey of the designer’s work and includes a section on the legacy of Rams in contem-porary design. The exhibition features some 200 sketches, prototypes and original prod-ucts that elucidate the designer’s distinctly modernist approach and philosophy about the function of design.

Photo exhibitions near you • Compiled by Niki Barrie

Tyen at “Beauty Culture” at the Annenberg Space for Photography

Double exposure of an American street scene, circa 1929, by Lyonel Feininger (1871-1956). The medium is gelatin silver print, which was a gift of T. Lux Feininger, Houghton Library, Harvard University.

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Dieter Rams, Braun hair dryer, 1970, design: Dieter Rams; photo Koichi Okuwaki

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Before European settlement, forests covered nearly one billion acres, or more than 50 percent, of what is now the United States. Today, about one-third of the nation is forested. The United States Forest Service defines 20 major forest cover types in the United States but the country boasts over 500 tree species, creating a diversity of landscapes. One such landscape is the Hoh Rainforest in Olympic National Park, Washington, shown here boasting mossy big-leaf maple trees.

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Frank Van Riper

TALKING PHOTOGRAPHY:OF BRIDEZILLAS AND THE NEW WEDDING DICHOTOMY

How wedding photography has changed… again

have to admit that although my wife and I are veterans of shooting more than 600 weddings over more than 25 years, our first joint wedding venture was a date.

Back in the early 1980s, when I was a Washington political reporter and Judy and I had been seeing each other for a while, she informed me that she had been hired to shoot a friend’s outdoor wedding in the country. Judy was a little nervous about the event, having never shot so large a job on her own. She was, after all, being paid for this and wanted everything to go well. So I offered to tag along with a camera.

Everything did go well. I even managed to nail a shot of the groom being thrown into the swimming pool by his friends, and the wedding couple loved our pictures. Afterward, the groom did allow as how the dunking had turned his watch to toast.

Thus began Judy’s and my long career as wedding photographers at a time when the old formal style was beginning to die out. Photographers like us—with backgrounds in journalism and fine art—were bringing a whole new documentary sensibility to the field.

For years, our fly-on-the-wall, almost-journalistic style was in vogue, especially with our DC-based clientele of smart young professionals (most of them lawyers) who wanted nothing-like-their-parents’ wedding, which featured canned portraits and other obviously staged poses. It was great while it lasted, but now the field of wedding photography seems to be changing again—while still drawing from the past.

Today’s most successful wedding shooters combine Judy’s and my documentary, capture-the-moment style with edgy portraits that, at their best, look as if they came from the pages of a smart fashion magazine. To do this kind of work well, these shooters bring to the job more lighting gear than Judy and I ever did—or, conversely, shoot far more by available light than we ever attempted in our old film days, taking advantage of digital’s remarkable light-gathering power to capture great light and a great mood.

All of this requires a lot of work and stamina, and after more than two decades of schlepping our photo gear to myriad wedding venues, Judy and I are happy to turn the reins over

to a younger generation of photographer so they can enjoy the loud bands, long hours of standing on hard floors, mediocre food and the occasional bride who is a nervous nut-job.

In fairness, though, I have to say that over the years Judy and I rarely were saddled with “bridezillas”—the current term for over-the-top demanding brides who think nothing of screaming at everyone, generally acting like spoiled brats and, of course, not being satisfied with anything. It says something about our clientele that, while we are doing virtually no weddings anymore, we now are getting return calls from Jewish couples whose weddings we shot 15-20 years ago, looking for our low-key documentary shooting style for their children’s bar/bat mitzvahs.

Still, no matter how simpatico a wedding couple may be, shooting a wedding is real work—donkey work, I might say—and it is a business. Make no mistake: Judy and I made very good money at it. But any wedding shooters who enter this field thinking the only things necessary to shoot a wedding and make big bucks are a handshake and a couple of empty CF cards are setting themselves up for an inevitable fall—probably several.

Which is why the new book Profitable Wedding Photography (Allworth Press, $24.95) by Los Angeles-based wedding shooter Elizabeth Etienne can be a valuable tool for anyone thinking of starting out—or branching out—as a wedding photographer.

Written in a breezy, readable yet always fact-filled style, Etienne takes the reader through the sometimes tedious details of wedding photography planning and shooting, right down to contract wording and recommendations on equipment.

It’s a must-read for anyone hoping to make money as a wedding photographer.

If I were to summarize Etienne’s premise, it is that the successful wedding shooter always views him or herself as an artist first and will do whatever it takes to make beautiful images at any wedding. She recounts, for example, the story of two struggling teachers who barely could afford her (she let them pay her fee

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Joel L. Hecker, Esq.

n the case of first impression, United States District judge Deborah Batts, sitting in the United States District Court for the Southern District of New York, has found Richard Prince (“Prince”), the well known appropriation artist; his gallery, Gagosian Gallery, Inc. (“Gallery”); and Lawrence Gagosian

(“Gagosian”), the gallery’s principal, all guilty of copyright infringement. The case arises out of Prince’s paintings, which are based upon professional photographer Patrick Cariou’s (“Cariou”) photographs of Rastafarians in Jamaica and can be found at Patrick Cariou vs. Richard Prince et al, Docket No. 08 Civ. 11327 (DAB). The decision was dated and filed on March 18, 2011.

Background Cariou is a professional photographer who spent a considerable amount of time with Rastafarians in Jamaica over the course of six years. He gained their trust and, as a result, was allowed to take their photographic portraits. In 2000, Cariou published a book of his Rastafarian photographs titled Yes, Rasta, which was released by PowerHouse Books. It contained both portraits of Rastafarian individuals and landscape photos. During discovery, Cariou testified at length about the creative choices he made (as is customary for professional photographers), including which equipment to use, how to stage and compose the individual photos, and the techniques and processes he used when developing the photos. He was also heavily involved in the layout, editing and printing of the book. Cariou was credited as the sole copyright owner for the photos appearing in the book.

THE LAW: CARIOU VS. PRINCE

Prince is a well-known and highly successful “appropriation artist.” His work has been shown at numerous museums and other institutions, including a solo show at the Guggenheim Museum in New York City.

The Gallery is a gallery and an art dealer that represents Prince and markets his art. Gagosian is the president, founder and owner of the Gallery.

From December 2007 through February 2008, Prince showed some of his artwork at the Eden Rock Hotel in St. Barts. This work included a collage entitled “Canal Zone (2007)” (“Canal Zone”) which consisted of a collage of 35 photographs, which were literally torn from Cariou’s book and attached to a wooden backer board. Prince had painted over some portions of the 35 photographs, using some of them in their entirety and some partially. Although the Canal Zone collage was not sold, portions of it were reproduced in a magazine article about Prince’s show at the Gagosian Gallery.

Prince ultimately completed 29 paintings in his contemplated Canal Zone series, 28 of which included images taken from Yes, Rasta. In total, Prince admitted using at least 41 photos from Yes, Rasta as elements of his Canal Zone paintings.

The Gallery showed 22 of the 29 Canal Zone paintings from November 8, 2008 to December 20, 2008 at one of its Manhattan locations. It also published and sold an exhibition catalogue from the show, which included reproductions of many

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Patrick Cariou is a professional photographer who spent a considerable amount of time photographing Rastafarians in Jamaica over the course of six years. This image is from Cariou’s book, Yes, Rasta (powerHouse Books, 2000).

An appropriation artist infringes a photographer’s copyright

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NOW ALLIN COLOR!

THE PICTURE PROFESSIONALQUARTERLY MAGAZINE OF THE AMERICAN SOCIETY OF PICTURE PROFESSIONALS

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ADVERTISE WITH THE ASPP

We are a community of image experts committed to sharing our experience and knowledge throughout the industry. We provide professional networking and educational opportunities. If you create, edit, license, manage or publish images, you want to reach ASPP members.

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

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Among Giants: A Life with Whalesby Charles “Flip” Nicklin and K.M. KostyalForeword by James DarlingThe University of Chicago Press, 2011.(Also available as an iPad app by Lightbox Press on iTunes.)$40.00. 192 pages.

Reviewed by Paul H. Henning

We live in the great Age of Hype. Models aren’t just models, they’re supermodels. Stars are ho-hum, so you have to be a superstar. We won’t pay attention unless something is “The World’s Greatest,” “The World’s Biggest,” “The World’s Fastest” or “The World’s Dumbest.” Which, of course, raises the question: How can something be genuinely dazzling if virtually everything else is either “awesome” or “brilliant”?

With that introductory note, I will now indulge in some very uncharacteristic (at least for me) and unadulterated hype. Flip Nicklin’s images of cetaceans around the world are among the most impressive, most memorable and most endearing pictures on the planet. His ultra-closeup of a seemingly smiling beluga whale, a classic photo of playful bottlenose dolphins and a heart-rending image of a young white sperm whale with its mother will grab your attention and inspire the inevitable “Awwww” moment, and that’s before you even get to the “Contents” page!

Among Giants is Flip Nicklin’s autobiographical reminiscence of a truly remarkable life, illustrated with numerous “How’d he get THAT picture?” images. Hanging out in his dad’s San Diego dive shop in the early 1960s, it was probably inevitable that the Nicklin DNA would require young Flip to follow his father Chuck into the water for a career (Chuck Nicklin started out as a professional diver but later became better known as an exceptionally accomplished underwater cinematographer). What certainly wasn’t as obvious at the time was that Flip was destined to become, over the course of a four-decade career, the go-to guy for both National Geographic and the world’s leading

whale researchers whenever the photographic subject matter included cetaceans.

The photos in this book and its accompanying text are nothing less than the story of the birth and maturation of one very important segment of the environmental consciousness movement. Nicklin’s career started at a time when whale research was virtually non-existent, and the tools to conduct such studies were remarkably crude (and could almost exclusively only be done from the surface). For most of the world at that time, a whale was simply either a mythical book character or, especially in Asian markets, another variety of meat at the local market.

Fast forward to the present. Decades of accumulated research data, the use of HD video and extremely light-sensitive digital still cameras, satellite tracking of whale migrations, and even the possibility of using miniature submarines to run with the whales has resulted in a quantum leap forward in cetacean knowledge as well as excitement about the future of whale research. And yet, as Nickin points out, “There are still many, many questions about how whales live their lives, how they find food, how they find each other, and what the larger relationships among them are.”

It was 1979 when Nicklin’s future began to reveal itself. While shooting humpback whales in Maui with his father, he was introduced to someone who would become a major figure throughout his life: Jim Darling, a pioneer in recording the singing of whales. The meeting with Darling and his colleagues was truly fortuitous. “Meeting and working with all these young, smart, passionate biologists was life-changing for me,” said Flip. “It was a community I really liked and had little exposure to. I was beginning to realize that underwater photography could do more than get me published. It could help tell the story of this new, changing field of marine mammal research.”

As you gaze at Nicklin’s breathtaking images of a school of hammerhead sharks and a close-up of mother and yearling humpbacks nearly kissing; as you marvel at the sheer power displayed in his image of a breaching killer whale, the inherent sense of adventure in the making of these amazing pictures is palpable. And yet, Nicklin goes out of his way to dispel any fantasies about his career being some sort of perpetual adrenaline rush. He notes, for example, that while visiting Vancouver Island in 1981 to shoot killer whale pods, “I spent a lot of that summer sitting around, waiting for something to happen. I didn’t realize

BOOK REVIEWS

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katie kotiGraduate Student, Yale Alamy Award

kathya maria landeros Graduate Student, Massachusetts College of Art & Design Jerry Tavin Award

hayden myrickFreshman, School of the Art Institute of Chicago ASMP Award

alena reyesSenior, School of the Art Institute of Chicago ASMP Award

kevin truong Junior, Pratt Institute APA Award

inspiring. empowering. educating.

Image by Shannon Soule 2009 YPA scholarship winner

Silent Auction featuring the work of renowned photographers,

as well as YPA’s 2011 scholarship winners:

third annual scholarship awards ceremony and benefit auction Wednesday, October 19th, 7pm–10pmAll proceeds go to YPA programs and development benefitting emerging photographers.

Calumet Studio 22 West 22nd St 2nd Floor New York CityAdvance Ticket Sales $50 Day-of-Event $75

Music, Food, Wine & Beer

For more info about this year’s event including scholarship presenters and participating silent auction photographers, go to: youngphotographersalliance.org

Event Sponsors

Indiana Market & Catering

www.indiananyc.com

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Sharon Donahue Sharon Donahue served as president for the New England chapter of ASPP for five years. She has been a freelance picture editor for Houghton Mifflin, Pearson Education and Cengage Learning, specializing in science, literature and fine art. Donahue is based in Lunenburg, Massachusetts.

Joel L. Hecker, 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 The Picture Professional, Hecker lectures and writes on these issues in PhotoStockNotes, the New York Bar Association Journal and the association’s Entertainment, Arts and Sports Law Journal. He is a past trustee of the Copyright Society of the U.S.A., and past chair of the Copyright and Literary Property Committee of the New York City Bar Association. Tel.: 212.557.9600; website: www.RussoandBurke.com; email: [email protected].

Pat Hunt is a writer and workshop leader for the stock photo industry and managing director of Huntstock.com in Boston, in partnership with creative director Mark Hunt. Huntstock is a lifestyle image production company specializing in People with Disabilities, Hispanic Lifestyle, Elder Lifestyle, Industry/Technology and Boston Icons. Mark has been featured in magazines for his iconic travel photography and for the community that is building around “Positive Lifestyle with Disabilities.” Pat can be reached at [email protected].

Sam Merrell is a digital photo workflow and image metadata consultant in New York City. He provides technical and business solutions for clients with larger collections of images. A photographer, Merrell was co-president of the New York chapter of ASPP from 2006 to 2011, and is now Technology co-chair of ASPP’s national board. From 1999 to 2004 Merrell was CTO for Solus Images; in 2005 he was one of several authors of the first edition of the PLUS Image Licensing Terms Glossary. Previously Merrell taught advanced digital photography at the School of Visual Arts in New York City and was an associate editor at PDN magazine.

Gail Mooney is a seasoned photographer, filmmaker and storyteller; her passion is documentary work, telling stories and creating awareness through film. Erin Kelly is Gail’s daughter and a recent graduate of Northwestern University. Erin works for a cultural exchange non-profit in Chicago, and the Opening Our Eyes project was her first trip around the world.

Meg Moss established Picdesk Photo Agency, now in its sixth year, after working as a photo editor at ACP Magazines. Picdesk, www.picdesk.com, now services more than 1,500 clients internationally. Meg is working on a new project, www.imagebrief.com, with three partners. ImageBrief is a platform where art buyers brief a global network of professional photographers who respond with images from their catalogs. The platform allows buyers to set their budgets and their terms of use. As a photographer’s advocate, Meg has had a lot of input into making this an exciting, fair and practical way for photographers to be able to license their work. ImageBrief is in its early stages with some 1,200 registered photographers.

CONTRIBUTORS

© Ron Donahue

© Mark Hunt/Huntstock.com

Writing for This Issue . . .

© Nina Wurtzel

© Robert Herman

Erin & Gail at Murchison Falls

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Miriam Stein entered the world of photo editing by way of her educational background in conservation, working for nonprofits such as The Nature Conservancy, Conservation International and the Smithsonian Ocean Initiative. As a staff and freelance photo editor for the National Geographic Society, she diversified into magazine, book and website publishing for multiple divisions and has since worked as a writer, editor, picture researcher and photo editor. Miriam is picture editor for The Picture Professional.

Frank Van Riper is a Washington-based photographer, journalist, author and lecturer. He served for 20 years in the New York Daily News Washington Bureau as White House correspondent, national political correspondent and Washington bureau news editor, and was a 1979 Nieman Fellow at Harvard. His photography books include Faces of the Eastern Shore; Down East Maine/A World Apart; and Talking Photography. Frank’s latest book (done in collaboration with his wife and partner Judith Goodman) is Serenissima: Venice in Winter. Frank and Judith conduct The Umbria Photo Workshops in Italy, www.experienceumbria.com, and each summer they lead the Lubec Photo Workshops at SummerKeys in Lubec, Maine. Frank’s website is www.GVRphoto.com.

The writers for this issue’s “Book Reviews” include photography consultant and CEO of Stock Answers LLC Paul H.Hening, ASPP executive director Jain Lemos, writers/photographers Brian Seed and Rachel Seed and Picture Professional editor Niki Barrie.

© Judith Goodman

Curt Teich Postcard ArchivesHistoric Images that Capture Time and Place

847-968-3381 • www.teicharchives.org

© Chris Ley

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Documents

Issue 3, 2011: ASPP's The Picture Professional Magazine