ELLEN VON UNWERTH

REVENGE IS SWEET

GOING DIGITAL
FIVE PHOTOGRAPHERS MAKE THE SWITCH

SURVIVE AND THRIVE

ASMPS EDUCATION SEMINARS

PLUS:
Gentieu v. Getty Protect Your Income Changing Worlds Survey Results

A S M P BULLETIN

WINTER 2004

The only thing more amazing than the flexibility of the FinePix S2 Pro is the image quality.
MaryBeth McCormack

F I N E P I X S 2 P R O D I G I TA L C A M E R A The FinePix S2 Pro Digital Camera continues to reinvent the standard with its latest generation of Fujifilms revolutionary Super CCD technology that produces 12.1 million effective pixel output files. And with ISO ratings of 100,160, 200, 400, 800 and 1600 and continuous shooting of 2 frames/sec up to 7 frames, it has the versatility professionals demand. It also comes with a convenient PC connector for versatile external flash use and is compatible with a full range of AF and AI-P type Nikkor lenses. Expect the highest level of image quality, from skin tones to accurate color, again and again. Nobody does digital better.

For more information call 1-800-800-FUJI, Option #2, or visit www.fujifilm.com

2003 Fuji Photo Film U. S. A., Inc.

Photo 2003 BackYardKids

ASMPCONTENTS
[WINTER 2004]
PRESIDENTS LETTER Stan Rowin talks about the changing environment and the photographers need to evolve.

4 8

15 MONEY MATTERS Protect Your Income:

A Photographers Guide to Disability Insurance. By Aaron D. Schindler

20 PORTFOLIO Ellen Von Unwerths sexy

aesthetic and provocative vision are masterfully articulated in the photo novella Revenge.

NEWSLINES Eugene Mopsik reports on enhancements behind the scenes / RIT releases results of its photography survey / IPNstock.com readies for launch / ASMP-Chicago celebrates seven years of passion and profession / Ohio North Coast hosts holiday contest and show

16 FEATURE STORY Five photographers talk

about making the switch from film to digital. By Angela Wolff

22 MARKETING STRATEGIES ASMPs new educational programs

help photographers survive and thrive. An interview with Susan Carr

18 LEGAL REVIEW A summary of the Penny Gentieu v. 23 PARTING SHOT Getty Images lawsuit; Plus Legal MIRA photographer Glen Allison
Update: Antitrust Exemptions for freelancers, FCC protests, Health Care bills and more. By Victor S. Perlman captures the beauty of the Chinese opera.

ON OUR COVER: Masked Maidens from the book Revenge Ellen Von Unwerth. For more on Von Unwerths latest book see this issues Portfolio section. THIS PAGE: Senator John Kerry on the Stump Rick Friedman/Corbis. For more about Friedman and his selection of digital cameras read Going Digital beginning on page 16.

Photo Ecology 101

John Goodman

ethink everything you know about photography," declares the headline in Hewlett-Packards 24-page advertise-

value or unique quality in your work and exploit it. Competing solely on price is destructive, both to you and to the industry. Another item of interest at the PACA meeting was the obvious change in the role of the photo "agency." In the beginning, stock photo agencies licensed the work of contributors and took an average of 50 percent of the gross sale price. The photographer got the other half of the sale. As catalogues and digital imaging came along, the photographer was asked to cover more overhead for catalogue printing and image scanning. Eventually the "agencies" stopped having an agency relationship with their former partner, the photographer. Some agencies no longer wanted the fiduciary responsibility of representing or protecting the photographer. Now they were protecting their shareholders return on investment. One extreme example of an agency turning on its photographers is the Penny Gentieu case Victor Perlman examines in this issue, on page 18. As stock agencies spend more money developing expensive Web sites and catalogues, and augmenting customer service, they feel the need to recover more of their investments. To do this, some stock companies are choosing to lower the percentage paid to the photographer, or worse, reshooting some images in house by staff or work-for-hire photographers in order keep 100 percent of the future commissions. Should photographers continue to complain that the new environment is unfair, or should we evolve? The ASMP is offering two traveling education programs, which will help you make the change. Each one deals with a different aspect of the new ecosystem. You can read more information about this on page 22 and on our Web site at www.asmp.org. Stan Rowin President, ASMP
This months photo was taken by John Goodman. John is a fine art, editorial and advertising photographer who specializes in people and teaches workshops internationally. His Web site is www.goodmanphoto.com.

ment launched in October. Heres a computer manufacturer trying to wrest control of those "Kodak Moments" from the film companies. For several years now the ASMP has been detailing how the ecosystem of the photography profession is changing dramatically. We obviously arent the only ones affected. Earlier this year, ASMP Executive Director Gene Mopsik and I were invited to the annual meeting of the Picture Archive Council of America (PACA). PACA is the trade organization for stock agencies. Their goal is to "develop uniform business practices within the stock photography industry, based upon ethical standards established by the Council." If you know the stock photo industry you know it is dominated by two giants. Yet there were scores of PACA member agencies at this meeting who are trying to survive and to compete with the giants. To succeed, the smaller agencies have to learn the giants weaknesses and concentrate on exploiting them. If you want to survive in the new photo-ecosystem as an independent photographer, you will have to do something similar. It is important for us to look at companies surviving in industries that face the same obstacles we do. We all hear claims that file sharing is ruining the music industry. The file sharers counter that the music industry lost track of its market. They say the lack of good music at affordable prices, not file sharing, has caused the downturn. When I looked at the latest weekly BILLBOARD 200 album chart, I found the top six entries in this category are CDs in which the artists have thrown something extra in the package. The artists with the top sales numbers are those who recognize the need to add extra value to their product to make the sale. Thats a lesson ASMP has been trying to teach our members for years: Find the extra
ASMPBULLETIN

PRESIDENTSLETTER

TO

EXCEL AT

DIGITAL PHOTOGRAPHY ALL YOU NEED IS A BRILLIANT MIND, EXTRAORDINARY SENSITIVITY, UNPRECEDENTED COMPATIBILITY AND AN ATTRACTIVE BODY.
A ND
ONLY ONE CAMERA HAS THEM ALL .

T HE EOS

1 0d.

digital REVOLUTIONIZED photography

we REVOLUTIONIZED digital

THE LAST TIME WE INTRODUCED A P R O F E S S I O N A L C A M E R A WA S 3 0 Y E A R S A G O . H E R E S W H AT S TA K E N S O LO N G .

2003 OLYMPUS AMERICA INC.

To create the worlds first all-digital professional SLR camera system to fulfill the promise of the digital revolution, we started from scratch. No compromises, no shortcuts. Introducing the E-1. its durable, compact and as fast as TM film slr cameras. And thanks to Zuiko Digital Specific Lenses, it produces unmatched edge-to-edge image quality. The E-1s magnesium alloy body is sealed from moisture and dust. An exclusive Supersonic Wave FilterTM prevents dust particles from settling on the image sensor when you change lenses. So you can keep shooting your best work under any conditions. What makes the E-1 system worth years of painstaking effort? Find out at olympusamerica.com/e-1. The new E-1 from Olympus. Designed to see more.

Yo u r Vi s i o n , O u r Fu t u r e

[WINTER

2004]

NEW STOCK PORTAL PROMOTES INDEPENDENT SITES

A new stock photography portal, IPNstock.com: the Independent Photography Network, promises to put photographers in control, providing larger sales percentages, offering a non-competitive partnership and promoting each member as an individual site. The new venture from VNU USA, the parent company of PDN, is expected to launch in early 2004. IPN combines first-rate Web technology with strong marketing, customer service and promotional muscle, says Jeffrey Roberts, President of IPNstock. The portal presents an environment of high quality edited images taken from participating members sites, to provide a volume attractive to clients and to maximize visibility for participants. Features available to IPN members will include: light boxes, e-commerce licensing, rights management and real time reporting with server-based software, and other tools necessary to drive sales to sites. As part of the VNU Business Medias Marketing, Media and Arts group, the site will be heavily marketed to photo buyers worldwide. IPN is currently registering image suppliers. For more information, contact jroberts@ipnstock.com.

NEWSLINE

Jim Gipe / Mira.com

CHANGING WORLDS
RITs survey on Commercial and Digital Photography Photographers may be charging more for their services, but theyre working harder to maintain income levels, according to The Changing World of Commercial Photography: A Survey for Commercial Photographers and Digital Artists, recently released by the Rochester Institute of Technology (RIT). RIT will be using the anecdotal results of the survey, sent to graduates of RITs School of Photographic Arts and Sciences and members of the ASMP, to help shape curriculum and advising decisions. RIT conducted a similar survey in 1997. The survey revealed some interesting findings about photographers business practices. While 50 percent report increasing fees over the past five years, and another 30 percent report no change, 41 percent report a decline in effective take-home earnings and only 37 percent report a revenue increase. Photographers are changing the way they set their fees: 76 percent consider image usage today compared to just 31 percent in 1997. The majority of respondents, 61 percent, are working harder to maintain their income. Markets for stock images and clip art have cut deeply into photographers assignments, according to responses to the surveys open-ended questions. As a result of this trend, many respondents have become more heavily involved in shooting stock, which has provided an added income stream. Not surprisingly, 98 percent of respondents own at least one computer, and more commercial photographers are using digital imaging in house for clients than previously (81 percent now, compared to 41 percent in 1997). Photographers responded positively about the services they can offer through this technology, yet they are often frustrated with client attitudes about digital imaging. Respondents report clients believe digital assignments will be easier to shoot, faster to output, and cheaper overall, although photographers experiences
ASMPBULLETIN

2003 (Clockwise from top left) Eric Slayton/Aperture Images, Antonio Pagnotta/ Cosmos/Aurora, William Mercer McLeod/Aperture Images, Evan Roberts/Aurora

IPNstock.com

[WINTER
(continued from page 8)

2004]

Volume 23, Number 2 / Winter 2004

show this to be inaccurate. While 94 percent of respondents plan to remain commercial shooters and 91 percent believe they can continue in their current field, the vast majority, 86 percent, believe they will have to retrain in new technologies or techniques, and 62 percent said they would have to restructure their business. The RIT Changing World of Photography survey was sent to 1,800 photographers; nearly one-quarter responded. The survey was designed, conducted and analyzed by RIT professor Howard LeVant. Complete survey results and analysis can be found at www.rit.edu/~survey03.

The American Society of Media Photographers, Inc. President Stanley Rowin First Vice President Susan Carr Second Vice President Robert Wiley Treasurer Clem Spalding Secretary Lon Atkinson Board of Directors Lon Atkinson, Michael Cardacino, Susan Carr, Ben Colman, Jim Flynn, John Giammatteo, Dave Harp, Judy Herrmann, Bruce Kluckhohn, Dan Lamont, Mary Beth McAuley, Stanley Rowin, John Slemp, Clem Spalding, Robert Wiley Exceutive Director Eugene Mopsik Managing Director and General Counsel Victor S. Perlman, Esq. General Manager Elena Goertz Web Master Amy Whitmoyer Copyright Counsel Charles D. Ossola Advertising Representatives East Coast Jules Wartell jules.wartell@russellgroupltd.com West Coast Richard Wartell rwartell@writeme.com Produced by PDN Events Publisher Jeffrey Roberts Associate Publisher Lauren Wendle Co Editors Jill Waterman, Angela Wolff Art Director Heather Kern Production Director Daniel Ryan Contributors Michelle Golden, John Gimenez, Holly Hughes, Meredith Marlay, Eugene Mopsik, Victor S. Perlman, Stanley Rowin, Aaron Schindler Copy Editor Amy Blankstein

ASMP was founded in 1944 to promote high professional and artistic standards in photography and to further the professional interests of its membership by disseminating information on a range of subjects and concerns. ASMP has a membership of more than 5,000 of the worlds finest photographers. The ASMP Bulletin, is published quarterly by ASMP, The American Society of Media Photographers, Inc., 150 North Second Street, Philadelphia, PA 19106. Ph: (215) 451-2767, Fax: (215) 451-0880, e-mail: info@ASMP.org Web-site [http://www.asmp.org]. Member subscription is $12 per year. 2003 ASMP, All rights reserved, ISSN 07445784 One time reprint rights are granted to ASMP chapter newsletters. No article may be reprinted (above exception noted) without written permission from ASMP. Postmaster: please address changes to ASMP Bulletin, 150 North Second Street, Philadelphia, PA 19106. Editorial contributions should be sent to: Jill Waterman, PDN, 770 Broadway, New York, NY 10003-9595. Phone: (646) 654-5834, Fax: (646) 654-5813, E-mail: jwaterman@pdnonline.com. Unsolicited material will not be acknowledged or returned. All submissions are printed at the discretion of the Society and are subject to editing. Signed letters and editorial contributions must include a phone number. Articles appearing in the ASMP Bulletin reflect the opinions of the writer. They do not necessarily reflect those of the editors, any officers of the Society, the Board of Directors, or the National Office. The Society does not assume responsibility for the individual writers opinions as expressed in the article.

ASMPBULLETIN

10

ITS YOUR BUSINESS

he industry of photography is rapidly turning a corner; and ASMP, as it has for decades, is looking into the future, adapting, evolving and offering the education, information and advocacy publication photographers need to succeed. There are many other voices, but only one ASMP, with the strength of its more than 5,000 members, providing substance over form, and relevance to the struggle and achievement of photographers in the real world. Almost exactly one year ago we launched a new communications program for the Society. Our goals were to convey the outstanding history and accomplishments of the organization while looking to future innovative tactics and strategies. It has been an exciting year under this program. We have engaged in new relationships, watched our membership grow and implemented new programs for the working photographerall with the confidence that ASMP is more relevant and useful to our trade than ever before. ASMPs Web site has undergone dramatic changes in recent months. The look and feel of the site is the same, but

ASMP is there when you need us. Our staff and legal counsel answer on average over one call an hour40 calls a weekfrom members asking legal and business related questions, and they are always available to answer your questions and address your concerns.
behind the scenes everything is new. Members have secure access to their own profiles to assure that they are in control of their most up-to-date information. Find-APhotographer (FAP) has been enhanced with new search features and the capacity to include member images as part of the FAP listing. Images throughout the site and in the galleries are linked directly to the photographers FAP listing. And since FAP listings are also listings in the main ASMP database, members can make changes themselves when needed. Additionally, the Forums have been updated and

are operating with new software, offering many new features including polling and the ability to subscribe to a particular thread and receive the posts via e-mail. ASMP continues its long tradition of legislative, judicial, and industry advocacy working to make changes in the collective bargaining statutes, supporting precedent making cases and working for improvements in the copyright law. ASMPs commitment is without comparison; in the last five years ASMP has spent more than $750,000 on advocacy and in support of various precedent setting cases. In the last issue we reported an agreement reached with the American Institute of Architects to modify the terms and conditions to their various competitions. This month we can report an agreement with the Transportation Security Administration to allow working photographers to carry on two bags of photographic equipment and/or film along with one personal bag. Details at www.asmp.org/tips/sec.shtml. ASMP member benefits also include access to health insurance at favorable rates, Prosurance business coverage, discounts with MacMall, internet provider Dogbark, Photo District News, Adbase and FedEx to name a few. ASMP is there when you need us. Our staff and legal counsel answer on average more than one call an hour40 calls a weekfrom members asking legal and business related questions, and they are always available to answer your questions and address your concerns. While there is a lot of talk around the issues, ASMP is providing the tools and the leadership working photographers need to succeed in a changing marketplace. We are constantly looking to the future in anticipation of your needs and to fulfill Philippe Halsmans vision, Shouldnt weas it is done in a democratic societyunite our forces, take the leadership and try to make the ASMP the instrument and the symbol of our thinking and aspirations. Its Your Business. Promote and protect it. Thrive together. ASMP is here to help you succeed. Eugene Mopsik Executive Director, ASMP

JOEL. A SIEGAL ROBERT M. CAVALLO

ATTORNEY AT LAW Attorney-At-Law
Over 17 years Experience Representing Photographers, Graphic Artists, and Designers
Collection of monies owed Recovery for lost images Copyright infringement and licensing disputes. Contract formation and disputes Business formation Commercial leases

400 Park Avenue New York, NY 10022

Tel: 212 753-2224 Fax: 212 753-7113

ASMPBULLETIN

Many cases handled on a percentage/contingency basis.

145 Hudson St., New York, NY 10013

(212) 431-7305
11

[WINTER

2004]

CHAPTERFOCUS
CHICAGO GETS PASSIONATE
ASMPs Chicago Chapter recently celebrated the seventh year of Passion and Profession, an annual photo workshop devoted to rekindling a love of the image. Faculty members Elizabeth Ernst, professor - Columbia College, Eric Futran, professional food photographer, and Michael Zajakowski, picture editor - Chicago Tribune, led 33 participants in the creation and critique of imagery produced on digital media. This years event was held at the George Williams Educational Retreat in Lake Geneva, Wisc. and marked the first time the workshop focused on digital technology. Passion and Profession is a wonderful recruiting tool, a great way to educate people about the community and to show them that they can make a living from what they do, says Brian Warling, workshop organizer. Some years weve had up to 50 percent of participants join ASMP after the workshop. Judy Fidkowski is an example of this effort. A former newspaper photographer who lost her position because of a budget crunch, Fidkowski joined ASMP before last years session, but was reconsidering her membership because she didnt feel she had the necessary reputation in the field. Once I did Passion and Profession I knew I had to repeat it, she says. What impressed me most was the mix of students and people at the top of their line, all interacting. This workshop causes a camaraderie from around the local community and beyond. Attendance at the workshop is usually split between first timers and more established talent. The program is open to all photographers and is limited to 40 participants. A scholarship program for first time attendees subsidizes half the $250 fee. Further information about Passion and Profession can be found on the Chicago chapter Web site at www.chimwasmp.org. JW
Judy FidkowskiTetzlaff

From disability income, studio insurance to automobile and homeowners coverage, Taylor & Taylor and the St. Paul Companies have been taking care of the insurance needs and problems of artists for over 35 years. Taylor & Taylor Associates, Inc.
Insuring your future.

90 Park Avenue, New York, New York 10016 Tel: (212) 490-8511 Telefax (212) 490-7236
ASMPBULLETIN

12

OHIO NORTH COAST SHOOTS BRICKS, LAUNCHES SCHOLARSHIPS

The Ohio North Coast chapter of ASMP has a picture perfect way of celebrating the holiday season. This fall the chapter announced its fourth annual Object Shoot, a contest in which chapter members take on the assignment of shooting the same objectthis year a brick however they see fit. Their holiday party becomes the occasion to display the work and select a best of show. For the first time Object Shoot entries will be on public display in an upscale gallery, notes Chapter presAl Teufen won last years competition with this inventive take of a newspaper. ident Lisa Decesare. We have member Jim Metrisin to Previous objects selected for study included a light bulb and a bolt. thank for arranging the current exhibit at ArtMetro Gallery in Clevelands Arcade Building. He has served on the board there over the years and has worked very closely with this beautiful space. Judging took place during the gallery reception at the December 4 chapter holiday party, and the four-week Object Shoot Show kicked off December 5. A winner had not yet been selected at press time, so log onto www.asmponc.org for contest rules and results. The Ohio North Coast chapter has more cheer to spread this holiday season. Member Bill Beck recently donated $2,000 to start a student membership scholarship fund. Since we are the first chapter ever to do this, we have been working with ASMP general counsel Victor Perlman to set application and award criteria, says Decesare. Were very excited to have the opportunity to reach out to students in this way. Students interested in applying for the scholarship should contact Decesare at lisa@lisadecesare.com. Those interested in setting up a similar program in their own chapter should contact Victor Perlman at perlman@asmp.org. For more pictures and further updates visit the chapter Web site at www.asmp-sd.org. A.W.
Al Teufen

ASMPBULLETIN

13

EFFECTIVE IMMEDIATELY

TSALIMITS
Call for nominations
The nomination period for the national board of directors will be open from December 1, 2003, to December 31, 2003. Any general member may declare his or her candidacy for the directorship. The election will be held from February 15, 2004, to March 15, 2004. Winners will begin their term at the next regular board meeting following their election (expected to be scheduled for April or May 2004). Five (5) directors will be selected for a three (3) year term. A directors term is three (3) years. Each candidate must be willing to attend a minimum of two (2) board meetings per year, which usually involves a Friday, Saturday, and Sunday. Other duties are assigned by the board to individual directors. If you wish to declare candidacy, please complete the following and fax or mail to: ASMP National 150 North Second Street Philadelphia, PA 19106 Fax: 215-451-0880 I declare my candidacy for a seat on the national board of directors. I am a general member of ASMP and understand that the commitments of a director of ASMP include having to attend a minimum of two (2) board meetings a year, as stated above.

EASED

Thanks to the efforts of ASMP and the cooperation and understanding of the Transportation Security Administration (TSA), working photographers and other members of the traveling public may now board aircraft with an additional carry-on containing photographic equipment. This means the accepted carry on limit will be two bagswhen at least one is photographic equipmentalong with a personal item. This accommodation will make it easier for photographers to travel with sensitive and valuable equipment. Document Checkers are currently being informed of this change in Transportation Security Administration regulations.

Be advised: the additional bag must conform to the carry-on size and weight regulations and some Document Checkers may not be aware of the policy change.
Be advised: the additional bag must conform to the carry-on size and weight regulations and some Document Checkers may not be aware of the policy change. Problems will require clearance through the airlines customer service personnel. The new allowance is subject to available space, if there is not space for extra baggage on a specific flight, a bag check will be required. Eugene Mopsik Executive Director, ASMP November 20, 2003

* A former photo agent turned financial representative, A ARON

SCHINDLER specializes in providing financial services for photographers and corporations including insurance, investments and retirement plans. For questions and comments, e-mail Aaron Schindler at aschindler @wagroupllc.com or call 212-261-1897. Registered Representative of Park Avenue Securities LLC (PAS), 7 Hanover Square, New York, NY 10004. Securities products and services offered through PAS, 1-888-600-4667. Financial Representative, The Guardian Life Insurance Company of America (Guardian), New York, NY. PAS is an indirect, wholly owned subsidiary of Guardian. Wealth Advisory Group LLC is not an affiliate or subsidiary of PAS or Guardian. PAS is a member NASD, SIPC.
Disability income products underwritten and issued by Berkshire Life Insurance Company of America, Pittsfield, MA, a wholly owned stock subsidiary of The Guardian Life Insurance Company of America, New York, NY. Products not available in all states. Product provisions and features may vary from state to state.

Print Name

Signature

Date

ASMPBULLETIN

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[MONEY

M AT T E R S ]

A P H O T O G R A P H E R S G U I D E T O D I S A B I LT Y I N S U R A N C E

PROTECTYOUR INCOME
Gary**, a 34-year-old commercial photographer and avid bicyclist, was hit by a speeding motorist two years ago while training for a race. He suffered severe head injuries with vertigo and paralysis to his right side and was left unable to walk or take photographs. As physically painful as his injuries were, Garys accident could have been financially disastrous as well. but can edit, teach or flip burgers, you will not be entitled to claim disability benefits under this kind of policy. Today, most policies provide for modified own occupation insurance. Under this definition, if you cant perform the regular duties of your own occupation you could trigger disability insurance. For a commercial photographer who shoots executive portraits and corporate facilities for annual reports, the inability to drive, walk, operate a camera, or see could trigger a claim. Under the modified definition, disability benefits cease if you work at another job while disabled. A small number of quality carriers offer own occupation disability insurance to allow you to collect benefits and earn a salary from another job, as long as you cant perform the material and substantial duties of the occupation you were engaged in at the time your disability began. Photographers should consider purchasing this type of own occupation coverage. Gary has been earning additional income by lecturing about photography at his local community college. He keeps a full schedule between physical therapy, lecturing, and caring for his wife and son. The maximum allowable disability benefit is typically calculated as 60 percent of a workers net annual income. This non-taxable benefit attempts to approximate after-tax earnings without over-insuring the individual (i.e. creating a disincentive to return to work). Gary, a sole proprietor with an annual average Schedule C net income of $70,000, is entitled to a disability claim of approximately $45,000 per year ($3,750 per month). Additional criteria that determine whether a company will offer you insurance and premium pricing include: When he was injured, Garys savings totaled $150,000. Had he not had the foresight to purchase disability, or income replacement, insurance, he Beth E. Schneider/MIRA.com might now be bankrupt. Fortunately the replacement income supplied by his disability insurance has enabled Gary to continue to support his wife and child while tackling physical therapy to regain his balance, learn how to walk and take pictures again. Disability insurance replaces income if you become unable to work. According to National Underwriter, chances are one in three that workers under age 35 will be disabled for at least six months during the course of their careers. The two most common disabilities are mental illness and injuries of the back and spine. Other common disabilities include bad knees, broken legs, arthritis and impaired vision. While Gary got injured off the job, photographers who regularly lug cameras, lenses, tripods and other equipment face particular occupational hazards. Disability insurance can be an important safety net for all shooters to support businesses and families in the event of injury or accident. Disability insurance is offered at three levels of coverage any occupation, modified own occupation and own occupation and claims are granted and paid accordingly. Under the any occupation definition, to qualify for benefits you must be so disabled that you cannot work at any job. In other words, if you cant work as a photographer,

BY AARON SCHINDLER * 1. Professional Class: Insurance companies rank each profession in a specific price class for premiums. The more physical the job, the higher the premium. Some quality carriers rank commercial photographers in a lower-priced occupation class than others. It is therefore important that your financial representative pre-qualifies you to select a carrier who can offer quality insurance at competitive rates. 2. Health and Medical History: The insurance carrier will require a medical exam and will review your medical records. The healthier you are, the better your chance of obtaining coverage. If you have an existing ailment, take medication, or have seen a medical practitioner for a specific treatment within the past five years (including a chiropractor or therapist), a pre-existing condition may be excluded from your coverage. Some companies have different medical criteria; an experienced broker can determine the policy most appropriate to your needs. 3. Age and Length of Policy: The younger you are the lower the annual premium. Longterm disability insurance can typically be purchased for the following benefit periods: two years, five years, to age 65, and for life. One key for designing a disability policy appropriate for your situation and budget is to work with a financial consultant who has a relationship with multiple carriers and is experienced with photographers. This will maximize your chances of obtaining a policy. Too many photographers only seek disability insurance after they have become disabled, decreased their earnings potential and become uninsurable. To best protect your income and existing wealth, consider disability insurance while you are still healthy and insurable. Yet, before making any financial decisions you should consult with an accountant and financial advisor regarding the risk and rewards of potential financial moves.

**Gary is a fictitious person who is a composite of real photographers and their disability cases.
ASMPBULLETIN

15

[ D I G I TA L

TRENDS]
BY ANGELA WOLFF

GOING DIGITAL
FIVE PHOTOGRAPHERS TALK ABOUT MAKING THE SWITCH

Bruce Kluckhohn

ts the question every photographer asks when making the switch from film to digital: Which camera is right for me? It should be no surprise that the answers are as varied as their subjects and work styles. For many, the decision boils down to the equipment already in use; sticking with the same manufacturer can shorten the learning curve and cut costs. For others, a close examination of business needs balanced with camera capability will help clarify the choice. But whatever you do, dont make the decision based on cost alone. A lot of people are buying on price, and with these things you just cant do that, says Lon Atkinson of Atkinson! Studios in San Diego. You need to define your specific needs and pick based on what best fits your business.

Finding the right camera

When Atkinson, a specialist in product advertising who does 75 percent of his work in the studio, selected the first digital camera for his business in 1992, he says the decision was relatively easy. There were few manufacturers, and for Atkinson the Leaf DCB camera was the obvious choice. He stuck with the Leaf camera for eight years, though he now admits it was about two years too long. Eighty-five percent of my work is with inanimate objects, so the multiple-shot digital cameras [like the Leaf] were fine, he says. But we had clients wanting more and more models, so we were interested in single-shot cameras at the same time. It was time for a new camera, but by 2000 the market was more crowded and the decision was harder to make. Atkinson took a unique approach and asked all the main manufacturers come to him for a mini trade show. I invited a friend with gray hair, because gray hair is hard to shoot, and had him hold his fluffy dog and a brightly colored object,Atkinson says.We took pictures with each system and then compared the images to select the best digital back for our business. Atkinson switched to the Sinar 23, the first large format digital camera with the ability to do multi-shot for products and single-shot for models.This has fulfilled the best of both worlds.

Bruce Kluckhohn

facturer. Bruce Kluckhohn of Minneapolis works primarily on location for magazine features. And as team photographer for the Minnesota Wild, he also shoots a lot of sports. Kluckhohn made the switch to the Canon EOS-1D after using the EOS-1N with film. The bodies of these cameras are almost identical, he says. The little focusing features and the controls for aperture and shutter speed flow exactly the same as my film cameras. So, other than the digital stuff, the features were virtually the same. The 1Ds speed is important to Kluckhohnat 8 fps its fast enough to shoot sportsbut just as important is the buffer speed. Its got such a high buffer speed that in the year and a half Ive had the camera Ive only run out of buffer three times, and Ive shot maybe 20,000 frames, he says. Kluckhohns other favorite feature is the personal white balance. As the team photographer for the Minnesota Wild, I shoot 50 or so events on the ice with strobe, he says. With the personal white balance I set it once and Im right on. I dont have to establish it each time I go there.

When two is better than one

The digital camera Rick Friedman uses depends on the assignment. A Boston-based photojournalist, editorial and corporate photographer whose subjects include politicians, entertainers, athletes and CEOs, Friedman uses the Canon EOS-1Ds and the Canon EOS-10Ds for his work. For street news or sports, the EOS-1Ds is absolutely amazing, he says. It focuses like nothing else Ive seen and combined with the 8 fps, it makes quite a good file. The 10Ds serves a different purpose. The small profile and light weight of the 10Ds are ideal for Friedmans work on the political trail. Im heading to New Hampshire to follow John Kerry in and out of store fronts along Main Street, he explains.The 10Ds is smaller so I can move faster. It may sound silly, but if only two photographers can get through that doorway, Im going to be one of them. On this sort of project if I cant fit it in my pocket, Im not taking it.

Whether shooting for magazines, as with the photo of headhunter Mark Jaffe, top, for Fortune, or while working with the Minnesota Wild, bottom, Bruce Kluckhohn says the Canon EOS-1Ds gets the job done.

Portability, durability, power and storage

The rigors of adventure photography pose a different set of digital challenges. For Tim Tadder of San Diego, who spends days at a time far from power sources and

Going with what you know

Many photographers select digital equipment based on their experience with film cameras by the same manuASMPBULLETIN

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often travels through rugged terrain to get there, digital carries some distinct advantages over film. Tadder shoots with the Nikon D100 for travel and expedition. Not only is it small and lightweight with a 6mega-pixel raw file, but Tadder says the new lithium ion batteries and digital storage devices have allowed him to leave both heavy equipment and worries at home. Each lithium ion battery weighs about 6 oz. and can capture 300 to 400 images before it dies. Then I just download those images onto a 30 gigabyte digital wallet, Tadder says. With the digital medium I can realistically shoot 200 rolls of film or more where you couldnt carry that much film before. And not only can I carry it, but its easier to keep it safe and dry, and I dont have to worry about 90-degree heat.

Rick Friedman/Corbis

Software and technical support

When selecting a digital system, software and technical support should also be considered. For Atkinson, the switch from Leaf to Sinar was beneficial for more than just the Sinar cameras multi-shot/single-shot capabilities. The Sinar software was a breath of fresh air after eight years of using the Leaf. The Leaf software, as well as other systems we looked at, seemed like it was written by engineers, but the Sinar software has the feel that it was written by and for photographers, he says. Atkinson also appreciates Sinars free software updates. A lot of people say digital cameras only have a life of a year or two, but if theyre constantly refining and upgrading the software, thats not the case.

The business of digital

John Gillooly of Professional Event Images, Inc. is a Boston-based specialist in events photography. For Gillooly, going digital was a business decision. Picking which digital camera to use was largely a matter of continuity. I use the Nikon D1x because I was already on the Nikon platform, he says. When youve got $15,000 worth of lenses sitting there, youre already on the Nikon road. While Gillooly loves the features of his digital camerasuch as changing ISO and white balance on the fly and the lossless color to black and white capabilities he is most excited about what the digital camera has done for his business model. As an example, Gillooly cited his work on the Gravity Games where he captured some 6,000 images during the six-day event. He was shooting for three clients: e-Map, NBC and Octagon Marketing, all working together from the same budget with the Gravity games as a shared sports property. In the past I would have shot that event, sent a box of contact sheets to one of them, then those contact sheets would be circulated from one to the next over a four-month period, he says. Now I can provide each with complete sets of contact sheets and CDs right away. I can also load these to an ecommerce Web site within minutes of an event. That earns me a lot more money because I have more to offer in a more timely manner. For Gillooly, one of the biggest differences between digital and film is the increased amount of services and products he can offer his clients. It used to be that a client had only one option: a 5 x 7 print, he says. Now they can order a print, a low resolution image for the Web, a medium resolution image for newspaper and full resolution for one of their brochures. It allows me to give better service, it removes the scanning procedure and I get quality control since Im the one doing the work.

Embracing digital
For photographers used to working with film, making the switch to digital can seem daunting. But, according to Tim Tadder, digital is not just the wave of the future, its here to stay. Understanding the technology, making it part of your business model rather than just the way you take pictures and educating your clients about the benefits can be the difference between success and failure. Theres a lot of talk about how much more digital equipment costs, but if you look over time, the amount of money you can recoup from clients easily makes up for it, he says. You get to try more things and push the envelope without worrying about whos going to pay for that roll of film or the half hour it took you to try that interesting angle that turned out to be nothing. His clients are finally embracing the technology. I shot a job last Saturday for a client who insisted on film in addition to digital, but I havent even taken it out of the camera, Taddler says. They looked at the gallery the day after the shoot and havent once asked Wheres the film? Im not only a child of the digital world, Im carrying the flag, he adds. Im out there every day educating my clients about what to do with my product, why its superior and why digital is what they want.
ASMPBULLETIN

For getting the best angle in tight spots, as when on the campaign trail with Presidential hopeful John Kerry, top, Rick Friedman prefers the Canon EOS-10Ds. Tim Tadder didnt have to worry about extreme heat melting his film while capturing this digital view of Ray Marx, Dean of Students at Monument Valley High School on the Navajo reservation in Utah.

Angela Wolff is co-editor of the ASMP Bulletin.

17

Tim Tadder

[LEGAL

REVIEW]
BY VICTOR S. PERLMAN

STANDING UP TO A GIANT
PENNY GENTIEU
V.
The lawsuit by Penny Gentieu against Getty Images/Tony Stone, Inc. recently came to an end. What follows is Victor Perlmans account of the events that transpired.

GETTY IMAGES
Requests for information were ignored. Her contractual rights to review financial records were blocked. The company she had enlisted to be her agent and to exercise its best efforts on her behalf appeared to be competing with her. All attempts at a business solution were rejected. She had only two choices: walk away, or go to court. She had the incredible bravery to choose the latter and to take on a giant adversary with millions of dollars at its disposal. Penny claimed that Getty failed to pay her more than $100,000 in net royalties owed to her, and Getty eventually agreed to pay her this money. Then tragedy arose when the judge who heard the case chose to attack Penny personally in his written opinions, for reasons known only to him. It was compounded when he ignored the fiduciary aspects of the relationship and when he dismissed the copyright aspects of Pennys lawsuit without letting a jury hear the case. Worse, he awarded a judgment against her for Gettys attorneys fees of approximately $750,000 in connection with the copyright claims. He then refused to stay the award of those fees until after her appeal of his decision could be decided, even though oral argument before the appellate court was scheduled for less than one month later. Since Getty dropped its claims for attorneys fees in exchange for Pennys dropping her appeal, Getty may have been worried that an appellate court ruling on the copyright claims might cost them more than the roughly $750,000 in fees that it had been awarded. In spite of the settlement that Penny received, the lawsuit consumed huge amounts of her time, energy and money, and eventually brought her to the brink of financial ruin. Yet, for Penny, the ultimate insult took place when some photographers publicly criticized her for pursuing the case even though they did not have access to the facts and the evidence that would have come to light in court if there had been a trial on the merits. Whether you agree with every aspect of her lawsuit or not, Penny Gentieu stood up for herself, and for all photographers. She deserves every members thanks and respect. She certainly has that from ASMP.

Y photographer and ASMP member Penny Gentieu is a hero in a story that became a tragedy. She took a stand against a giant who was abusing her work and ended up getting personally attacked by a judge and ultimately by some of her own colleagues. A Tony Stone photographer, Penny was appalled by the egre Penny Gentieu gious contract presented to her after Tony Stone was taken over by Getty, and she refused to sign it. ASMP reviewed the Getty contract when it was introduced and reported it to be the most photographerunfriendly stock contract it had ever seen. This contract changed the role of the stock house from photographers agent to photographers boss, and it changed the role of the photographer from a principal to a vendor. The fundamental nature of the relationship was altered for the benefit of the stock house and to the detriment of photographers. TAKING ACCOUNT Soon after the takeover, Penny watched as strange things began to happen with her account at Getty: her revenues started to drop, despite an increasing number of her images in the collection; her sales reports started to show puzzling entries and reversals of sales; and her images started to be replaced in print and electronic catalogs by similar photographs created by other photographers with contracts more favorable to Getty. Troubled, Penny tried to exercise the right under her agreement to conduct an audit of Gettys books at her own expense. In spite of its legal obligation to allow the audit, Getty blocked the review of its records and refused to allow Penny or her accountant to see its

actual financial data. It took litigation and many months for her to finally get access to Gettys figures. Penny had two choices: she could let the Getty giant trample all over her rights and keep the money that belonged to her, or she could stand up and engage the giant in a court battle. She knew litigation would be long, hard and extremely expensive, with no guarantee of a favorable outcome. In spite of that, she decided to do what she believed to be right and take Getty to court. She felt strongly that if Getty saw it could not abuse photographers rights without being held accountable, perhaps it would treat her, and other photographers, better in the future. FIDUCIARY INTERESTS One of the most unsettling aspects of the situation to Penny, and to many in the industry, was that Getty was supposed to be her agent, acting in her best interestsnot simply its own. The principal-agent relationship is considered under the law to be fiduciary in nature; that is, one held to the highest standards of trust. Noted New York attorney Robert Cavallo found that to be the most troubling aspect of this case: The fiduciary relationship between photographer and agency should be given the utmost care. It is on a much higher level than ordinary business relationships. The most controversial aspect of the case was Pennys claim of copyright infringement. Basically, she believed that Getty had hired other photographers and given them instructions to copy her photographs. Unfortunately, the judge refused to allow these claims and the evidence supporting them to go to a jury. Because of that, and because Penny has now had to drop her appeal of that and other decisions by the judge, we will never know the truth or all of the evidence. The full saga of the court battle is too long and convoluted to retrace in an article of this size. The bottom line is this: PENNY AND GOLIATH Penny wasnt receiving the money owed her.
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LEGALUPDATE
IF YOU BELIEVE THERE IS A SITUATION YOU WISH TO PURSUE IN COURT, THE FOLLOWING STEPS WILL HELP YOU MAKE YOUR DECISION AND PROCEED APPROPRIATELY: FIRST STEPS Select and talk to a good lawyer. ASMP can make recommendations or give background on individual attorneys. Gather all of your documents for a meeting to evaluate your case. Realize from the start that you may have to prove copyright registration, and you should be prepared to see legal bills reach as much as six figures before the suit is over. CONSIDERING COSTS Get an honest estimate of costs, including lawyers fees and other legal expenses (depositions, travel, expert witnesses, consultants, filing fees, etc.). Keep in mind, the size of your legal fees is, to a great extent, in the hands of your opponents, and they can file motion after motion for the sole purpose of driving up your legal bills to the point where you can no longer afford to pursue your case. Factor in the soft costs: how much time will you be spending on the litigation that you would otherwise be spending on producing income? How much of an emotional/psychological drain will this be? Litigation can be psychologically all consuming. This process can be (and usually is) drawn out over a period of years, not months. Evaluate realistically whether you have the war chest required to go to court. Even if your lawyer is willing to accept your case on a contingent fee basis, there still may be costs totaling thousands of dollars to pay as you go. In many states, the lawyer is ethically prohibited from paying those costs for you. It is quite possible to have a great case you are sure to win, but that you simply cannot financially afford to pursue. BALANCING RISK AND REWARD Consider the risks: what happens if you lose? In the U.S. both sides generally pay their own legal bills for most litigation, but in copyright cases the court can make the losing party pay lawyers fees for the winning party. A plaintiff in a lawsuit may also run a risk of being perceived by clients and prospects as someone with whom doing business means being exposed to litigation, however wrong or unfair that perception may be. Project a realistic number for expected recovery if you pursue the case and win and weigh it against risk. One option for this is mathematical: take your expected dollar recovery and subtract your projected costs to get a net figure, and then multiply the net by the percentage chance that you will win. I never estimate the chances of winning at better than 80 percent, no matter how strong the case. Consider other benefits, such as the possibility to set a precedent (legal or practical) that will help you and other photographers in the future. Is the projected award worth the investment of dollars, time and energy required? You need to answer that based purely on logic, without taking into account factors such as how badly you feel you have been treated. It should be obvious by now that litigation, at least under the American judicial system, is usually a last resort and is out of the financial reach of many people. However, even if actual litigation does not seem advisable in a particular situation, that does not mean you should just give up. Often persistence pays off. Sometimes the possibility of a lawsuit will be enough to make the other side decide to do the right thing, rather than being put at the risk of legal fees that may well exceed the amount of money at issue.
ASMPBULLETIN

This brief summary highlights some of the federal legislation and industry matters in which ASMP has been recently involved. Antitrust Exemptions: ASMP, in coordination with other trade associations, has been actively working with U.S. legislators for the introduction of a bill to grant an exemption from antitrust laws for freelance photographers and other creators of copyrighted materials. We are currently refining the language for such a bill. State Sovereign Immunity: The U.S. Supreme Court ruled in several 1999 decisions that states were immune from prosecution for damages arising out of intellectual property right infringements, such as copyright or patent. In response, two bills were introduced this year. FCC: ASMP actively participated in protests against the FCCs easing restrictions on media ownership, which would allow greater concentration of media outlets in the hands of a few monolithic companies. Members responded enthusiastically to our call for grass roots support. The result in the House was H.R. 2462, which would reverse the FCCs actions. Health Care: Two bills, S. 545 by Sen. Olympia Snowe (RME) and H.R. 660 by Rep. Ernie Fletcher, (R-KY) have been introduced to, among other things, allow health insurance plans run by associations (Association Health Plans or AHPs) to be exempt from state insurance regulation. Charitable Contributions of Works of Art: Legislation has been introduced to amend the Internal Revenue Code allowing artists (including photographers) who donate their own works to charitable organizations to deduct the fair market value of those works. Currently, the law limits the deduction to the cost of materials. I am working closely on this with the American Association of Museum Directors. Copyright/Internet: Two bills, one by Rep. John Conyers Jr. (D-MI) and one by Rep. Lamar Smith (R-TX), were introduced in the House in June and July to make unauthorized file sharing and other internet copyright violations felonies. Both were referred to the appropriate subcommittee. American Institute of Architects: Gene Mopsik and I have been involved in an extended series of successful discussions with AIA, resulting in modifications to their required releases in connection with various competitions and other projects. We have also discussed a number of joint projects, some of which are already in the works. Absolut/American Photo Contest: Several years ago, ASMP stopped trying to protest photo contests with egregious conditions imposed on entrants, for a number of reasons: the number of such contests had become enormous, the entrants were almost entirely amateurs, and our protests generally fell on deaf ears. Yet, there were some distinguishing circumstances in this case, so we made an exception and got involved. Gene Mopsik logged many hours by phone and e-mail to successfully negotiate an acceptable set of conditions. As a result, the contest promoters changed the rules. 19

All Photos Ellen Von Unwerth

[PORTFOLIO]

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ELLENVONUNWERTH
REVENGE IS SWEET

All Photos Ellen Von Unwerth

n ASMP member since 1993, Ellen Von Unwerths sexy aesthetic has been turning heads for many years. Breaking away from her early days as a circus performer and fashion model, she now enjoys tremendous acclaim as an editorial and advertising photographer with a provocative vision and a playful, yet wicked approach. This hallmark style is masterfully articulated in Revenge, a hardcover photo novella that transforms a Victorian story line into an unfettered romp in the park. The book was photographed over three days at an estate on the outskirts of Paris and boasts 190 black and white views. A bevy of maidens arrive by chauffeured limousine at the Chateau of their guardian, the Baroness. They flock to the garden where they eat forbidden fruit and frolic in a mud bath. Enter the corsets and ropes, blindfolds, whips and chains. Lured to captivity by the Baroness and her wicked servants, they are thus enslaved until, at long last, the girls overtake the keys to the chateau and get their revenge on the evil Baroness and her staff. Revenge was released in April 2003 by Twin Palms Publishers, in tandem with exhibitions in New York, Berlin and Paris. Look for Revenge at your local bookstore or at the publishers Web site: www.twinpalms.com. To see more of Ellens commercial work, including a camera-classic series with pop idol Britney Spears, shot for the New York Times, visit the Web site of her New York rep Art & Commerce at: www.artandcommerce.com. Jill Waterman ASMPBULLETIN 21

[MARKETING

S T R AT E G I E S ]
INTERVIEW BY ANGELA WOLFF

A S M P S N E W E D U C AT I O N P R O G R A M S

It takes more than great photos to be a successful photographer. Not only do you have to create the image, you also have to market your talent, network and negotiate pricing and contracts. Additionally, as digital moves from the wave of the future to standard operating procedure, a whole new set of marketing opportunities and challenges loom on the horizon. ASMP is offering seminars to help photographers not only survive in this tough market, but to thrive. Susan Carr, co-owner of Carr Cialdella Photography in Kalamazoo, Michigan, and head of the ASMP Education Committee, answers a few questions about this new education program.

SURVIVE+ THRIVE
Q. What seminars are currently offered? A. We launched two new education programs in
September: Marketing, Pricing and Negotiating and Working Digitally. Both focus more on business practices than on photographic skills.

Q. How are they different from other workshops out there? A. What really distinguishes all of our seminars is that they are from real working photographers who are still out in the world doing it every day. And photographers helping photographers is one of our proudest traditions. Blake Discher, who is leading our marketing seminar, is very approachable and articulate, hes a good educator and people will be able to apply his lessons directly to their business. Sometimes you go to see the big stars, and you think, Thats their world, not mine. We want to have a seminar series where people will walk away with a solid feeling of I can apply A, B and C tomorrow. Q. Why is marketing education so important?
A. Marketing, Pricing and Negotiating is a three-hour seminar that covers getting a handle on basic marketing issues what exactly it is that you are selling, the need to specialize, how to negotiate with clients when asked to price jobs and the relatively new area of Web-based marketing. As independent artists we hate marketing ourselves. This is stuff photographers need, and for most of us it just doesnt come naturally.

and explaining what you need to think about on the business side to make it work. Im proud of this seminar because I think its a very honest assessment of working in the digital area. Its the wave of the future, and weve all got to do it. Once photographers understand everything involved in going digital, they will better understand issues like what they need to include in estimates and why, the liability concerns with delivery of digital files compared to film and what additional services they can offer and charge for.

Q. Why do you think this type of seminar is so important? A. Theres no doubt that digital is the direction where photography is headed. Photographers need to incorporate digital capabilities in their repertoire, and then it becomes what they can sell to their customers. Most photographers who are doing well in this tough economy are those who have embraced the new technology by adding additional services to their businesses. Some people are doing these things but not charging enough for themor not charging period. Photographers are taking on more and more of this post-production work, so they really need to go out and grab some of these revenues. And the seminars hit on these sorts of issues over and over again. You have to master the skills, but we can help you understand the business implications. Q. Where are the seminars being offered? A. The goal is to have a series of seminars rotating around
the country, hitting as many of our 40 chapterslarge and smallas possible. Its great that we can get a lot of people to these seminars in the big cities, but photographers in big cities have a lot of other education opportunities. We want to make sure our members in smaller cities get a chance to benefit from these seminars as well. Weve also done our best to make them affordable, and were giving any profits back to the chapters and to the ASMP Foundation.

Q. How does Working Digitally fit in with the

marketing mix? A. This is not a Photoshop tips and tricks seminar at all. There are so many digital seminars out there. What we wanted was for real working photographers to show whats involved. Judy Herrmann and Mike Starke do a great job of inspiring people while being honest about the expense,

J.W. Burkey of Burkey Studios in Cedar Hill, Texas, attended one of the ASMP marketing seminars. Because Ive been in the business such a long time I didnt necessarily come across anything Id never heard before, he says, But sometimes we need reminding as much as we need learning. I left the seminar with five pages of notesnot of specifically what was said, but of action steps I was reminded to do when I got back to the office.
ASMPBULLETIN

J.W. Burkey

22

GLEN ALLISONS BOLD MOVE AND REINVENTED CAREER

PARTINGSHOT

Glen Allison / Mira.com

fter 20 years of feeling stuck in a successful career as an architectural photographer, Glen Allison made a bold move that was perhaps more cathartic than practical: I signed over copyrights to my past clients for all the images Id shotI didnt even keep one negative as a legacy to my career, he says. He then deleted all client information from his computers, sold everything he owned and set off to shoot the worlds travel icons in what turned out to be an eight-year, non-stop marathon during which Allison has photographed 131 countries and maintained no permanent address. This photograph of a performer from the Beijing Opera was shot during that marathon. I used available stage lighting to capture an interesting expression and a body position that would best sum up the mood and character of the elaborate dress and makeup, he explains.

It is just one of many stunning shots from his reinvented career. Allisons new photographic legacy now fills two books, The Journey from Kamakura, a novel, and Penis Gourds & Moscow Muggings, a collection of humorous stories and poignant lessons learned from dramatic experiences on the road, illustrated with 32 pages of color photographs. Allisons photography can be licensed for commercial use on Mira.com. Mira is the stock agency of The Creative Eye, an international cooperative of photographers that includes many ASMP members. The cooperative was established in response to agency consolidation, which threatens to diminish the viable options available to both buyers and suppliers of stock photography. To search for and license photographs by Glen Allison or any of the nearly 500 other members, visit www.mira.com. AW

ASMPBULLETIN

23

FIND A PHOTOGRAPHER.

WWW. ASMP.ORG

its your business.

J
working digitally.
Major sponsorship supplied by

promote and protect it.

oin us for one of a series of extraordinary seminars designed to help you promote and protect your business, presented by the American Society of Media Photographers (ASMP). For details and registration, go to www.asmp.org/register.

marketing, pricing and negotiating.

Major sponsorship supplied by Kodak Professional

This information packed full-day seminar provides the road map to success in the digital environment. Learn about estimating, pricing and problem solving, color management, evaluating equipment, digital delivery and archiving files. Judy Herrmann and Mike Starke, each with over 10 years of digital experience, provide you with the information and resources to get the job done. Get on the digital highway now!
Baltimore, December 6 Miami, January 17 New York City, February 7 Raleigh, February 21 San Diego, March 27 San Francisco, April 3 Chicago, April 24 Phoenix, May 15

Take the mystery out of pricing, become search engine savvy, learn to determine your target audience and how to negotiate to win. At this evening seminar, hosted by Detroit photographer Blake Discher, you will learn how to use the Web as a marketing tool, understand the value of your work, how to justify your fees, and to prepare estimates that sell. Give us three hours and this seminar will show you the way.
San Diego, December 4 Philadelphia, February 12 St. Louis, March 4 Salt Lake City, March 18 Portland, April 22

Additional sponsorship for both programs provided by and the ASMP Foundation.
2003 ASMP

NICK VEDROS