ASPP’s THE PICTURE PROFESSIONAL Summer 2014 by American Society of Picture Professionals

ISSUE 2/2014

THE

PICTURE QUARTERLY MAGAZINE OF THE AMERICAN SOCIETY OF PICTURE PROFESSIONALS

PROFESSIONAL

TABLE OF CONTENTS ISSUE 2 / 2014 THE PICTURE PROFESSIONAL COVER: © Polly Antonia Barrowman, GoPro digital capture.

PORTFOLIO: CHRISTOPHER DILTS A Wolfe

PORTFOLIO: LUCIA LOISO John W.W. Zeiser

PORTFOLIO: POLLY ANTONIA BARROWMAN 32 Jenny Respress

PRESIDENT’S MESSAGE

EDITOR’S LETTER

WHAT’S HANGING

Q/A: PAULINE FROMMER Ellen C. Herbert

LIFE NARRATED Samaruddin Stewart

SELF-PUBLISHING PRESIDENTIAL PICTURES Dennis Brack

THE LAW Joel L. Hecker, Esq.

CLICK Ben High

CHAPTER CAPTURE

BOOK REVIEWS

CONTRIBUTORS

LIFE IN FOCUS Ava Alamshah

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

LIST OF ADVERTISERS Adobe SendNow akg-images Ar t Resource Association Health Programs Bridgeman Images Curt Teich Postcard Archives Custom Medical Stock Photo

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Dan Suzio Photography Danita Delimont Stock Agency Debra Hershkowitz Everett Collection Fundamental Photographs Global Image Works

Minden Pictures MPTV Images North Wind Picture Archives Robert Harding World Imagery Sc ienceSource Sovfoto/Eastfoto

The Granger Collection The Image Works Travel Stock USA VI REO/The Academy of Natural Sciences Young Photographers Alliance

The Picture Professional quarterly magazine of the American Society of Picture Professionals, Inc. 2014-2015 NATIONAL BOARD OF DIRECTORS

2014-2015 CHAPTER PRESIDENTS

PRESIDENT Cecilia de Querol

West Christopher Dinenna

EDITORIAL STAFF

VICE PRESIDENT Anna Fey

Midwest Christopher K. Sandberg

Publisher Sam Merrell

SECRETARY Ellen Herbert

Editor-in-Chief April Wolfe

TREASURER Mary Fran Loftus

New England Jennifer Riley Debra Lakind

Art Director Mariana Ochs

MEMBERSHIP Benita Spight Doug Brooks

ASPP EXECUTIVE OFFICES 201 East 25th Street #11c New York, NY 10010 Tel: 516-500-3686 director@aspp.com

Copy Editor Debra P. Hershkowitz CONTRIBUTING WRITERS Paul H. Henning Jenny Respress John W.W. Zeiser Samaruddin Stewart Dennis Brack Ellen C. Herbert Ben High Joel L. Hecker, Esq.

New York Kris Graves Darrell Perry DC/South Jeff Mauritzen

EDUCATION Susan Rosenberg Jones

2014 SUB-CHAPTER VICE PRESIDENTS

TECHNOLOGY Mayo Van Dyck

Minnesota Julie Caruso

MARKETING & COMMUNICATIONS Lisa Vazquez Roper

Missouri Sid Hastings

ADVERTISING & EXECUTIVE OFFICES Sam Merrell Executive Director director@aspp.com EDITORIAL April Wolfe editor@aspp.com NATIONAL PRESIDENT Cecilia de Querol president@aspp.com MEMBERSHIP Benita Spight Doug Brooks membership@aspp.com WEBSITE Daryl Geraci webmanager@aspp.com Tel: 602-561-9535 eNEWS BLOG Jenny Respress newsletter@aspp.com

Ohio Mandy Groszko Wisconsin Paul H. Henning

bers, $40.00 per year to non-members. Back issues: $10.00 when available. Non-members are invited to consider membership in ASPP.

The American Society of Picture Professionals (ASPP) is a non-profit, non-partisan association of image experts committed to sharing their experience and knowledge throughout the industry. The Picture Professional (ISSN 1084-3701) is published spring, summer, fall and winter as a forum for distribution of information about use, purchase and sale of imagery.

POSTMASTER: Send old and new address changes to ASPP, Inc., 201 East 25th Street #11c, New York, NY 10010. Members can update contact information and mailing addresses in the Member Area of our website at www.aspp.com.

ASPP is dedicated to promoting and maintaining high professional standards and ethics and cooperates with organizations that have similar or allied interests. We welcome the submission of articles and news from all sources, on all aspects of the imagery profession. Contact editor@aspp.com.

©2014 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-inChief. 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.

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 Sam Merrell, director@aspp.com (or 516-500-3686). Space reservation deadlines: February 10, May 10, August 10, November 10. Subscription rates: Free to mem-

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PRESIDENT CECILIA DE QUEROL

DEAR PICTURE PROS, Greetings! It is my honor and pleasure to write my first message to you as national president. I want to thank our past president, Michael Masterson, our board of trustees, and our local and national board members for their support and guidance, and also for their enthusiasm and all they have done and continue to do for all the members of ASPP. I have been thinking long and hard about ASPP— who we are, where we came from, where we’re going, and the power of professionals coming together as a group. ASPP was founded in 1966 as an association to bring all the professionals who work with images under one umbrella. Photographers, publishers, and agents all had their own associations, but they were each insular communities, preaching to their own choirs. We are all part of the same ecosystem, but there was no formal association for us to gather and share. Since then, it seems like everything about the way we work has changed completely. Digital technology has transformed the landscape. But the core has not changed. Our name says it all: American Society of Picture Professionals. We are an Association. We are nothing without our members and the volunteers who work so hard and share their knowledge and creativity with all of us. We work with Pictures. We all came to where we are because at some point early in our lives we were captivated by the many powers of the image. We are Professionals. Our members at the Accredited level are all vetted, experienced professionals. We share our expertise with each other and with Student and Associate members who are just getting started.

What does this all mean? How can we build on this core to make ASPP stronger and more effective? As professionals, we each have the power of knowledge and experience. As a group under ASPP’s umbrella, we can focus and multiply that power to make our voices heard as advocates for the value of hiring professionals. If you are a member, don’t just be a passive consumer of our offerings. Pitch in! Send us feedback! Your participation in our community makes us stronger. We can’t do it without you. If you’re not a member, don’t just sit back and watch. Join and get the full experience. This magazine is one of many ways we share and communicate. With this issue, we welcome our new designer, Mariana Ochs. Mariana has broad and rich experience and we look forward to her contributions. This issue also marks the debut of our new publisher, Sam Merrell. Lastly, many thanks to Ophelia Chong for her skill, creativity, and all the hard work she put into transforming the look of the magazine into the sleek and visually stunning publication it is now. It’s summer, and many of our chapters are having summer parties and social events. If you haven’t been to one before, don’t hesitate. Get out and go! They’re a great way to meet your colleagues, do some networking, and relax and have fun at the same time. Let me know what you think! I look forward to hearing from you. Happy Summer!

CECILIA DE QUEROL president@aspp.com

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EDITOR’S MESSAGE

APRIL WOLFE

DEAR PICTURE PROS, For the past two years, we’ve been constantly revamping our style and content in the magazine, experimenting with what works and what doesn’t, and building a new platform for ASPP to use as a calling card. In short, it’s hard work. But I’m very excited to welcome our new art director Mariana Ochs to our team, because she will push us even further to a place where we need to be to stand out, and hopefully further into the digital realm as well. In the following pages, we’ve upped our ante once again. We have a portfolio and an exclusive interview with Obama/Biden campaign photographer Christopher Dilts, whose work has been featured in virtually every American publication you can think of and whose process, ethics, and thoughts on the evolution of photography are invaluable. Because this is the summer issue, we also have color, with Lucia Loiso’s Candy photographs, which are both stunningly executed and strangely evocative of our childhood summers. Our third portfolio comes to us from lifestyle and editorial photographer Polly Antonia Barrowman, who used some skill, craft, and survivalist techniques to take her own wedding photos on a deserted island. For all the photographers who’ve been interested by the thought of self-publishing, Dennis Brack has an

article on the trials, errors, and small victories of navigating that system. And for the traditional publishers, Ellen C. Herbert has a Q/A with Pauline Frommer, who’s just taken back the illustrious travel-guide publishing company her father founded sixty years ago. Joel L. Hecker returns with up-to-date copyright information, Ben High dives into image-editing apps, and Samaruddin Stewart tests out an impossibly tiny camera. We’ve got a little something for everyone. And with this issue, we also welcome new ASPP national president Cecilia de Querol, a longtime and active member who’s stepped up to this challenging role. I’m anxious to get this issue out to all your mailboxes, because I’m so proud of all the people who dedicate their time, resources, and energy to making this magazine something special. Take this issue to the beach and let all the passersby wonder to themselves, “Now what is that beautiful magazine?” Sincerely,

A WOLFE editor@aspp.com

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WHAT’S HANGING

Photo exhibitions near you

NEW YORK GEORGE EASTMAN HOUSE 900 East Avenue Rochester Mickalene Thomas: Happy Birthday to a Beautiful Woman June 20–October 19, 2014 Opening on June 20, this exhibition explores what it means to be a woman in the twenty-first century by challenging conventional notions of beauty. With her mother as her muse, Thomas creates images that weave together her personal history and art history, and reveal the complex role of the mother-daughter bond. Consisting of a group of large-scale photographic portraits, and a film about Thomas’s mother (former fashion model Sandra Bush), the show investigates her ongoing engagement with portraiture in both a personal and cultural context. Interspersed with excerpts from a conversation between Thomas and her mother (who died shortly after the film was completed), the film also includes archival film clips, snapshots, and scenes of her mother in her hospital bed as she suffers the effects of kidney disease. Taken together with the large portrait prints, this show achieves a deep engagement with art history

© Josef Koudelka/Magnum Photos. Czechoslovakia (Kada), from the series Gypsies, 1963, printed 1967. The Art Institute of Chicago, restricted gift of Artworkers Retirement Society. Courtesy of Pace/MacGill Gallery, New York.

and the classical genres of portraiture, landscape and still life, re-contextualized in contemporary terms.

ILLINOIS ART INSTITUTE CHICAGO 111 South Michigan Avenue Chicago Josef Koudelka: Nationality Doubtful June 7–September 14, 2014 Czech-born French artist Josef Koudelka is one of the classic pho-

© Mickalene Thomas (American, b. 1971). Lounging, Standing, Looking, 2012. Three chromogenic development prints. Courtesy of the artist; Lehmann Maupin, New York and Hong Kong; and Artists Rights Society (ARS), New York. American Society of Picture Professionals

tographers still working today. This exhibition is his first major U.S. retrospective since 1988, and the first museum show that emphasizes his original vintage prints, period books, magazines, and unpublished materials. Koudelka became anonymously famous for his photographs of the Soviet-led invasion of Prague in August, 1968. The show features ten Invasion images printed by the photographer just weeks after the event. Choosing exile to avoid reprisals for the photographs, Koudelka subsequently traveled throughout Europe during the 1970s and 1980s and produced the series Exiles. The exhibit includes twenty-two photographs—the complete surviving contents of the debut presentation of Koudelka’s series on Europe’s Roma, Gypsies, published in 1967. His early experimental and theater photographs are also on display, along with some of his beautiful and unusual books, which stretch dozens of feet when unfolded.

MASSACHUSETTS MIT MUSEUM Kurtz Gallery for Photography 265 Massachusetts Avenue Cambridge Daguerre’s American Legacy: Photographic Portraits from the Wm. B. Becker Collection April 18, 2014–January 4, 2015 This exhibition is a time machine that transports viewers back to the 1840s and 1850s when the very first photographic portrait daguerreotypes were made. Today, they not only reveal life as it was in the midnineteenth century, they show the beginnings of what has become a vast industry. Noteworthy highlights include examples from America’s first masters of photography: Southworth & Hawes of Boston; Jeremiah Gurney of New York; and Marcus A. Root of Philadelphia, as well as obscure and unknown artists.

ARIZONA ARIZONA STATE MUSEUM 1013 East University Boulevard Tucson Curtis Reframed: The Arizona Portfolios May 5, 2014–July 31, 2015

Jeremiah Gurney, Woman with Kepi and False Beard, daguerreotype, ca. 1858. Wm. B. Becker Collection/American Museum of Photography.

At the start of the twentieth century, Edward S. Curtis (1868-1952), famed photographer of the American West, created iconic images of Native American people. Accompanied by assistants, translators, cooks, guides, and even family at times, Curtis made several trips to Arizona between 1903 and 1928, photographing individuals from thirteen tribes and documenting the cultural practices and religious beliefs of each group.

Exploring his Arizona work with the thirteen tribes, this show features images and narratives from The North American Indian, a twenty-volume set, which ultimately destroyed Custis’s family life and left him nearly bankrupt. The project lasted almost thirty years and five-hundred complete sets were produced. About half were actually sold. Lauded and decried, these sepiatoned portraits have fascinated generations of audiences and, for better or worse, continue to influence how the world perceives Native Americans. The photogravures in this exhibit are from the permanent collections of the Arizona State Museum, and the copper plate examples are from the Center for Creative Photography. aspp.com

WHAT’S HANGING © Sara VanDerBeek. Untitled, courtesy of the artist and Altman Siegel, San Francisco; Metro Pictures, New York; and The Approach, London.

CALIFORNIA MUSEUM OF PHOTOGRAPHIC ARTS 1649 El Prado San Diego Aperture Remix May 24–October 5, 2014 To celebrate Aperture’s sixtieth anniversary two years ago, nine artists responded to publications from Aperture that were influential to them and their own work. Each of the nine Remix artists created a new work inspired by ideas they found important or of great concern in the earlier Aperture work. Together, these new images are proof positive of the hugely influential role that Aperture has played in contemporary photography.

ALTMAN SIEGEL 49 Geary Street, Suite 416 San Francisco Sara VanDerBeek: Ancient Objects, Still Lives June 5–August 2, 2014

American Society of Picture Professionals

Organized in roughly two parts and split between two sections of the gallery—day and night—the work in this show suggests parallel worlds. VanDerBeek’s images and objects flip back and forth between recognizable, observed reality, and the ambiguous imaginary. Steps recur throughout the exhibition as a depiction of the point at which the spiritual and material worlds intersect, and as a universal symbol of transition and change. In some of

VanDerBeek’s still lifes, imagery is ruptured by flashes of light, alluding to a different realm. In others, objects fade into light, or darken as with the oncoming twilight, caught in a state of transformation. Others still are doubled, implying multiple instances of perception merged into a simultaneous image. This show grew out of Sara VanDerBeek’s studies of Pre-Colombian artifacts while participating in the 12th Cuenca Bienal, Ecuador. The Bienal emphasized a set of independent, yet interrelated concepts centered on contemporary artistic production and society at large, particularly in the historic and culturally stimulating context of Ecuador and Cuenca. Sara VanDerBeek lives and works in New York.

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SLEEPING WHEN Vice President Joe Biden walks from Air Force Two to his armored limousine in Fort Myers, FL, September 28, 2012.

American Society of Picture Professionals

THE PRESIDENT SLEEPS THE IMAGES OF CHRISTOPHER DILTS

BY A WOLFE 13

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PORTFOLIO: CHRISTOPHER DILTS

into do you want to shoot the campaign back in Chicago? Do you want to run the photo department? Do you want to come back and do the inauguration? You would think anybody would go into a situation like that and do a really good job, but apparently they don’t. And I guess I just did it right. I went into it not knowing really how you’re supposed to photograph the president. I didn’t have context for it. I’d seen photos from news agencies, so I was like, I have to take pictures of this the same way I would take pictures of bike messengers or paintballers or portraits. They were like, oh you noticed all these details and saw these things that we didn’t even know to take pictures of. All these moments that when all the reporters turned to get a picture, I said, oh what’s going on over there. I don’t think they expected that, and it gave them some unique stuff they couldn’t get via the wire service.

CHRISTOPHER DILTS IS a documentary, lifestyle, and edi-

torial photographer based in Chicago. Among his most famous subjects, Barack Obama and Joe Biden have found themselves caught by Dilts’s lens for years. And while you may enjoy the candid and often silly shots on VP Biden’s Instagram, you might be interested to know that some of his most-liked photos come from Dilts himself. Aside from his political photography, Dilts also shoots the Cycle Messenger World Championship, a high-stakes, fast-paced ride through the world’s largest and most congested cities—not the easiest conditions for a photographer. Somehow, Dilts still found a way to sit down with us to chat about his process, his cameras, and his thoughts on the ever-changing profession of presidential photography. How did you get into doing the Obama campaign? It’s a random story. Many years ago, right out of college, I worked for a paintball magazine, photographing professional paintballers. It was supposed to be a six-month portfolio-building weird project that turned into a couple of years traveling all around the world, photographing professional paintball players. One of the guys that worked at that magazine ended up on the Obama campaign in 2008. In 2010, healthcare reform is just wrapping up, and that guy who I worked with at the magazine was still working the DNC. The president was going to give a speech in Iowa City, and they had their photographer fall through last minute. The guy was like, I got a guy in Chicago who could rent a car and drive to Iowa right now—me. And I did. It’s a once in a lifetime moment. I rented a car at the airport—because it’s the only place you can rent a car at 5 on a Wednesday—slept in my car, wore the only suit I had at the time. They were happy with the photographs, and then a few months later, they called and said, do you want to do that again? A few months later, they said do you want to come out to DC for a while? Then I got hired at the DNC. And that turned

How do you handle being on Air Force One or Air Force Two? Does your workflow change on the road? What’s definitely interesting is that we travel with video teams. A video team has a line producer, an editor, a full support and structure they travel with. Stills don’t have any of that. I really had to be self-contained. I had to literally carry everything on my back the entire time. I was very fortunate that I got to observe a lot of travel in the press pool very early on. When I was at the DNC, we would just come into the event and leave. When we were on the campaign, we were living with the boss. We’re on the plane. We’re at the same hotels. And you’re not going home. You can’t go back and get a hard drive or even get a change of clothes. I carry two camera bodies. I shoot Nikon and carry two D700s and battery packs—because you don’t have time to stop and charge batteries, rarely have time to change batteries. There are lenses it would be nice to have, but honestly, you have to go with what you can pack. You don’t have a lot of time to do that. Always make sure to carry a speed lens, every photo you’ve ever seen in front of two

“THE STORY THAT WE’RE TELLING THAT I THOUGHT WAS IMPORTANT WASN’T JUST HERE’S A GUY RUNNING FOR PRESIDENT, BUT HERE’S A WHOLE BUNCH OF PEOPLE THAT GOT TOGETHER TO ELECT THIS GUY PRESIDENT. THIS WAS OUR EMPHASIS AT EVENTS.” American Society of Picture Professionals

Supporters in Chicago, IL, cheer at the Obama/Biden victory celebration, November 6, 2012.

flags, shaking hands, we had to do all of those. Sometimes it’s going to be sixty people, and we have to get through all that. I carry a shoulder camera bag and a backpack with a MacBook and usually two or three Thunderbolt hard drives, firewire, a card reader, and then I would tether off of my iPhone to my laptop. So basic workflow is to get up in the morning, get in the motorcade, immediately start taking pictures. At no point did I not have two cameras hanging off my shoulder. It’s chaos, but the general rule I established with the other photographers is you have an hour post-event to dump. They would text me and say, we need a couple of people speaking, a handshake shot, something backstage. I go into it with a set of goals given to me, as well as my own agenda, and I jump back in the van, and I would immediately dump media. I dump everything into an external drive. The workflow is really fast. I would literally grab cards, dump everything to a hard drive. Skim through that. Make quick selects. Pull them up in Photoshop. Quickly tone them. Batch process, not for high res, but something I

could get out. Then I would upload those to a Dropbox, via my iPhone, typically in the back of the van as we’re driving to the next thing. A lot of times there’s me in the van, suit coat pulled over my head over the laptop, because it’s really sunny, and I can’t see anything, trying to get these photos in the twelve minutes I have between stops. I send them those, hope that my cell phone connection works—which is really sketchy in Iowa and remote areas—fire up to my desk, shut the laptop down. I would not clear cards until I made sure to double backup everything that night. Swap those cards, put them away, and just keep going. Do that all day long, until you hit the hotel and get a “lid,” which is when the boss is done for the night, unless something crazy happens. It’s what they tell the press pool when you can all go to the bar and start drinking. Unless there’s a national crisis, we’re done for the day. The president’s going to bed. At that point, I would back everything up, all the selects I made, look for additional stuff I need, export those and set up an FTP overnight. When the designers would come in the next morning, they would have everything I’d shot the

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PORTFOLIO: CHRISTOPHER DILTS

Vice President Joe Biden's armored limousine on the airport tarmac, Eau Claire, WI, September 13, 2012.

Students and parents protest school closings in Chicago, IL, May 20, 2013. 16

Vice President Joe Biden hugs 15-year-old Kobe Groce backstage at a campaign event in Ft. Myers, Fl, September 29, 2012.

President Barack Obama waits to film a video spot at the White House at the onset of the 2012 re-election campaign. 17

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PORTFOLIO: CHRISTOPHER DILTS

half we shoot needs to be of supporters, volunteers, workers. So you show up at an event, get him speaking, but I want you to turn around and start taking pictures of people in the crowd. So much of the Obama campaign is about the grassroots orgs, people, and volunteers and supporters, the folks who went out there and did the work. The story that we’re telling that I thought was important wasn’t just here’s a guy running for president, but here’s a whole bunch of people that got together to elect this guy president. This was our emphasis at events. Granted, the restrictions of being in the “bubble” when you’re with the boss are tough. You don’t get to hang out afterwards, because the worst thing that can happen is you get left behind. The motorcade waits for no one.

previous day in high-res to immediately plug into literature, ads, anything they need. Social media folks would get something on the fly as it was happening, but design teams would have a more robust edit the next day. Needless to say, you don’t have a social life on the road. All the reporters would say, we’re going out to dinner, and I would still have five more hours of work to do. Of all the images people loved from Biden on Instagram, the ones you took were the most liked. I saw MSNBC or something recently did a vice presidential Twitter campaign roundup for greatest moments, and it was all photos of mine, which was great. People really respond to Biden. Obama is a rock star, but Biden is the guy we’d walk into a diner in a small town, and it would physically take his staff removing him to finish up. He had to spend a moment with every person there. Hug everyone, possibly kiss them on the forehead, hold their hand, have a drink or a meal or a sandwich, or an ice cream cone. We went to a lot of Dairy Queens.

Rights and clearances: Which agencies have access to what? Can you talk about that? The White House is a federal agency, and all the work their photographers do is public domain. So anything the White House releases, no one owns the copyright, all public domain for people to use and have. I’m friends with some of the folks there, and that’s the sacrifice they make. They’ll never own those photos or be able to sell them. The campaign side, where I’m at, there’s a similar situation. The whole job is work for hire, which is not ideal for a photographer, especially when you’re doing epic historic work, and the photographs don’t just have value, but unique value, where you’re seeing things that not even the press pool has access to. The reason I was willing to make that sacrifice was the choice between getting to be there to make the picture and not getting to be there to make the picture. I would never encourage a photographer to not ask to own their rights, because I think they should. You have to ask, and they can say no. I pushed really hard to have all of our photographs released through a creative commons license. Anyone can go and use them through the Flickr account, which I made high res, as long as they gave an attribution to the photographer.

When it comes to your images and getting wide distribution on social media, does it ever disappoint you that you can’t take credit in the public sphere? The campaign had a photographer who was ad hoc when I came in. They didn’t have a robust photo program, so I came to the DNC, and it was the first time someone had to address this. I think it’s important to have metadata, and when we release the photo, we attach a name of the person who reported it, so the photographer will get credit. But news organizations will usually just credit it to Obama for America, etc. Partially, you need that credit, but at the same time, you aren’t really the face. Pete Souza is the guy. He’s the chief White House photographer, and that’s his thing. The campaign photographers, obviously, we’re a bit less. The frustration came when it was fun to watch everyone tweet or Instagram my photos, but I’d get one retweet and fourteen likes, and Biden would do the same one and it’d be half a million likes on Instagram. It was cool, but…I want credit. At the same time, this is something I impress on our staff: This isn’t the story of us. It’s the story of these two people, and this is the story of the movement.

You also shoot international bike messenger races. How would you compare the process for that with what you have for the president? I learned quickly, especially with travel, that messenger races are sort of the same. You’re living out of a bag, and you’re even more limited with what you can carry, because you’re also riding a bicycle. You’re carrying everything on your back on a bike, and you have to keep up with these people who are fast. They are athletes, and they do this all

What’s your story of the movement? I want to see fifty pictures of the president, but the other American Society of Picture Professionals

Riders prepare for the qualifiers of the annual Red Hook Crit, Brooklyn, NY, March 30, 2013.

day, everyday, the best urban bike riders in the world. I used to have a big messenger bag, a camera bag, and one camera body with me, until I went to Tokyo and destroyed a camera body and had no camera, which was a disaster. So now I have two bodies and a variety of lenses. After I’d been doing it for a few years, the social media aspect of it sort of saw an explosion of blogs, Instagram, and Twitter, and suddenly non-photographers were posting everything online. After the presidential campaign wrapped up, I was able to actually take the workflow I developed for the campaign. I went to Seattle to photograph the championship in 2013 and literally used the exact same workflow I’d used for the campaign. At this point, I’m tweeting and Instagramming, doing things closer to real time. It worked out really well. The workflow didn’t feel that much different, except you weren’t jumping in and out of cars. You were just on your bike with ten minutes on your laptop. The drinking is about the same between the campaign and the bike messenger stuff, although, with the campaign, usually the end of the day you’re drinking, but bike messenger, you’re drinking all day.

Favorite campaign image? We were backstage and doing a photo line, which is the meet and greet, everybody gets the picture handshake, whatever. Florida was where they had their own guy doing it. I didn’t worry about it. I could go and check my email. At the very end of it, there was a young African American kid who had just been at the event. He came up to one of our staffers and asked if he could get an autograph. He told a story about how healthcare reform had saved his brother’s life. And student finance reform had allowed his older brother to go to college, and he wanted to give this to his brother. The staffer said, just come with me. He pulled him out of the line, because he was at the very end not being an official, and I’m just sitting there watching because I’m not supposed to be shooting. It’s Florida. It’s hot. This kid just releases it—he starts crying. The VP just grabs him, gives him a bear hug and holds him. I was not preparing to make a picture. There was no setup. For me, it got down to why was I there? That was a great moment of thinking, this is good. This is the story I’m trying to tell. ●

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A cyclist stands in an intersection in Tokyo Japan, during the 2009 Cycle Messenger World Championship.

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aspp.com © CHRISTOPHER DILTS

CANDY CRUSH American Society of Picture Professionals

ON LUCIA LOISO 23

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PORTFOLIO: LUCIA LOISO

BY JOHN W.W. ZEISER “symbols can rob an object of its immediate presence and rob us of the immediate pleasure of seeing it or touching it. This series is all about touch, smell, and taste through the lens of the camera.” Indeed, the smell of heated sugar somehow permeates the images. Each conforms to a strong, almost monumental motif, and it’s hard to believe that the candy pieces are happy accidents of a confectioner’s daily work and not made-toorder for Loiso’s studio. But that is part of what Loiso is going for. They were not meant to be admired on their own, and by photographing the cast-offs, she is able to appropriate the objects for a new purpose. When asked about the structural component of the candy, Loiso says that she’s compelled by an object’s “sculptural aspect” and is “always searching for things that capture my interest in terms of what they are and how they look.” It’s not hard to see how these pieces of candy caught her eye. They are colorful, contorted serendipities given a moment in the spotlight. This series also stands out among Loiso’s portfolio for its rich rainbow of colors. Many of her other projects, while still concerned with objects, and often food, have more subdued settings—perhaps accented by a burst of color from pieces of string, broken-open fruit, or a flower—but generally retaining a darker, more earthbound palette. The Candy series, on the other hand, is nothing but color. By straddling the line between commercial and artistic photography, Lucia Loiso has created a captivating set of images giving voice to small accidents that can become, with a little creative reimagining, candy for the eye. And if you were wondering, Loiso feels it’s her duty to do a bit of quality control before each shoot. According to her, the watermelon pieces are the best. ●

CANDY HAS ITS REWARDS—primarily, getting to eat it.

But if you’re nursing a cavity or worrying about disappointing your dentist, you can still enjoy some of its other sensory delights thanks to Pasadena-based photographer Lucia Loiso, whose newest project explores the strange sculptural qualities of locally made and very colorful confections. Loiso, who is originally from Romania, moved to Southern California seven years ago to study photography at the Art Center College of Design. Her early work was heavily influenced by eastern European design and aesthetic, which relied on familiar textures and backgrounds. However, she began to find the approach constricting. She remembers it was “a very nostalgic approach to image making, and I had to move on.” She turned her “focus on the objects themselves, with an almost fetish-like appreciation, which culminated in the Candy series.” The Candy series documents the by-products of handmade candy from a shop in Pasadena. Large blocks of different colored candies are combined, then heated and stretched. The pieces are broken apart to get desired patterns and images like a lemon slice, a heart, or a cat’s face. The leftovers are what Loiso shoots, captivated by what she saw as a “sensual and almost grotesque quality in them.” Indeed, when one looks at the resulting images, there is certainly something of the bizarre you’d probably never see if Loiso hadn’t had the idea to arrange the candy for a shoot. Centered in the frame, the pieces look like bouquets or cornucopias of organs. One has pink-looking brains emanating from a green and black swirl of spine. Another almost seems like a stomach dyed for Valentine’s Day. But these are only perceptions forced onto abstractions. Loiso wants viewers to remain conscious of the fact that

American Society of Picture Professionals

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PORTFOLIO: LUCIA LOISO

American Society of Picture Professionals

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PORTFOLIO: LUCIA LOISO

American Society of Picture Professionals

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Fine Art | History | Photography

POLLY ANTONIA BARROWMAN’S INVENTIVE WEDDING PHOTOGRAPHY

BY JENNY RESPRESS

American Society of Picture Professionals

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PORTFOLIO: POLLY ANTONIA BARROWMAN

American Society of Picture Professionals

“I WANTED TO GET SOME SHOTS THAT SHOWED HOW ALONE AND TINY WE REALLY WERE ON THAT ISLAND.”

WEDDING PLANNING can be enough to make anyone

want to chuck it all and fly off to a deserted island to get hitched. That’s exactly what Polly Antonia Barrowman and Jared Varava did. After a private ceremony at a resort in the Philippines with only their parents in attendance, Polly and Jared were off to their own private island with a few essentials and a Pelican Case containing their photography gear. They stayed in a tiny hut on the beach, equipped with hammocks, a gas cooker, a bed, solar electricity, and running water (for the first few days, anyway). When they weren’t reading in their hammocks, kayaking, or climbing up trees and hacking down coconuts with a machete, Polly and Jared were waking up at sunrise to take advantage of the light. Light is definitely the star of Polly Antonia Barrowman’s honeymoon photos. Describing the moment of their arrival to the area, Barrowman notes the magical quality of the light. “When the stars came out and the bioluminescence started to go crazy, and then a full orange moon popped out from behind the mountain, it was sort of an earth-shattering moment.” It seems this characteristic of the light cast a spell on Barrowman and her cameras. The light is dazzling in every picture: daytime, nighttime, black and white, or color. The daylight shots have a pure, crystalline quality, almost as though scenes are being viewed through water. The nighttime shots glow, thanks to an open shutter, and light seems to materialize

out of sand, sea, and mountainside. It got dark on the island around 6pm, and Barrowman says many of the cool effects seen in her night shots were “just us being silly and trying to entertain ourselves.” Says Barrowman of the equipment they brought along, “We both love using film, so we had our old Hasselblad with a couple of lenses, a GoPro for underwater, and a Canon digital that was mainly used for nighttime longexposure shots. I also brought my Leica (film) and Olympus (digital), which were both small enough to fit into a waterproof bag for our kayaking excursions.” In addition, they brought a tripod and what Polly describes as literally “a boatload of film.” Though the gear was a bit cumbersome for traveling, Barrowman and Varava were relieved that they never had to check it for any flight to or from their island paradise. On their kayaking excursions, Jared piloted while Polly took photos. A particular trip out to get a shot of the hut in the daylight with the couple’s Canon 5D was pulled off “without any mishap,” thanks to Jared’s excellent kayaking skills. According to Polly, the couple’s biggest challenge— aside from keeping their food safe from some clever and very persistent ants—was simply not taking photographs every second they were on the island and photographing “only the most beautiful moments.” What a lovely dilemma to have! ●

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PORTFOLIO: POLLY ANTONIA BARROWMAN

American Society of Picture Professionals

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Q/A PAULINE FROMMER,

FROMMER’S TRAVEL GUIDES BY ELLEN C. HERBERT I began traveling at the age of four months. We’d head to Europe every year for about three months to update Europe on 5 Dollars a Day. Like my father, I was always drawn to writing, and worked on both my high school and college papers. For about a decade, I worked as an actor (touring with the original Broadway road company of Les Misérables and doing shows off-Broadway in New York City), but then returned to my roots in writing with the debut of Frommers.com. I was the first editor. We were one of the first travel content websites, and so we were learning as we went along. We were immediately discovered by the travel enthusiasts, and they were incredibly supportive of the site (and still are). It was thanks to them that Frommers.com won a “People’s Choice” award against Expedia when I was editor in chief. We were stunned that our much smaller site beat that giant. But as for quantity vs. quality: when we first started the site, we published a daily newsletter. We soon found out, from our readers, that was overkill. So we cut back to twice a week. Now we have much more photography on the site than we did when it was first launched. We find that having images is as important as having text, as it helps readers visualize where they’ll be going.

PAULINE FROMMER, daughter of Arthur Frommer, took

over as editorial director of Frommer’s just last year, and immediately everyone asked: could she be the one to revive travel guides? Since taking the position, she has held the printed guides close, but also dipped further into web and mobile app markets. We’re eagerly anticipating the Frommer’s joint venture with TripLingo, which she mentions here in the following interview with ASPP national secretary Ellen C. Herbert. What were the first Frommer’s guides like? My father actually wrote a book while he was in the army, called, The GI’s Guide to Europe. It sold out the first day it was sold in the POs there. So that’s why he started with Europe. He realized that there was a pentup longing by ordinary Americans to see the fabled continent of Europe. The first Frommer guide was Europe on 5 Dollars a Day, published in 1957. My father selfpublished it and did it as inexpensively as possible. He hired a custodian at the law firm he was then working at to design the cover—he was also a talented artist. It was an illustration of a tourist at a Parisian café. The book was an overnight success and totally changed my father’s life. For many years, all of the covers were illustrated. I believe it was in the 1970s that Frommer switched to using photos on the covers. Remember, before he wrote Europe on 5 Dollars a Day, going to Europe for a vacation was something that only the very rich did. He opened the door for middle-class Americans to have this sort of life-changing adventure. His follow-ups to Europe were Mexico, New York, and a number of other locations. At one point, he was publishing some ninety books out of his living room.

The first essential item for planning a big trip is a trip to the local bookstore, library or online source to obtain a printed copy of the Frommer’s Guide, with beautiful photography, maps, and tips to make the most of an adventure. How do you see the Travel Guides evolving with the advent of e-books? Actually, the sale of e-books has flattened in the last year, so it’s hard to know what their future will be. I think that apps may be the wave of the future, especially those that integrate photography and text into mapping and locational services. We’re embracing technology. You have to. Very soon, an app we’ve developed with Trip-

You were born into a family of travelers, clearly. Tell us a bit about your background and how you became enamored with travel writing. American Society of Picture Professionals

These Frommer’s guides from the 1950s inspired average Americans to jump out of their comfort zones to travel the world. They’re credited with setting the tone for the entire travel-guide industry that followed.

The use of imagery is clearly evolving in the travel guide world. What are the differences between the imagery from a guide ten years ago and today? I think travelers are searching for both authenticity and curation. They’re overwhelmed by the amount of material they can get on the web, and they want to know that a true expert is guiding them. That’s why we only list the hotels, restaurants, and attractions that will truly make a traveler’s experience. We try to stay away from those establishments that you’ll find in dozens of cities, and choose those that enable the traveler to experience the zeitgeist of the destination. The needs of the modern traveler have evolved also. How has Frommer’s adapted to those changes? We understand that the sharing economy is now a big part of the travel experience, and we’ve been careful to make sure our authors include tips on how to tap into that. A lot depends on the destination being covered. As well, the technology surrounding travel has changed, so we’re eliminating items like fax numbers and upping the number of other e-resources we cite. We just took back the company last April, so our print schedule is evolving, but you should know that right now, we’re working on second editions of all the EasyGuides that came out in the fall of 2013, plus some new ones. Information changes

Lingo for both language and cultural translation will be launched. In fact, it may be out before this article is.

quickly. We use a number of web platforms, such as Basecamp, Zoho and FTP sites so that our team can share work. We find it works just as well as having an interoffice network would. What would you tell the aspiring travel photographer? The market is so full of imagery from the amateur as well as the professional sectors of the market. Both writers and photographers are facing a lot of competition nowadays from amateurs who allow their material to be used for free. So the photographer who will continue to find work is the one who understands how to tell a good story through his or her photographs. Anyone can snap a pretty shot of a sunset. It’s much rarer to find photographers who really know how to include the telling cultural and natural details that create a complete portrait of the location they’re shooting. Your favorite destination and a photo that illustrates what you love about it? I usually say my favorite destination is the last place I’ve been because, frankly, I don’t like going back to the same destinations over and over. ●

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LIFE…NARRATED © SAMARUDDIN STEWART

BY SAMARUDDIN STEWART

plastic shell are a 5-megapixel camera (2592×1944 pixels), a GPS antenna, claimed two-day battery life, 8 GB of storage, and all the other electronics/circuits to make the Clip run. Getting started and set up with both the computerbased uploader and the smartphone app all went seamlessly. Then the actual process of capturing photos was just as advertised—simple, easy, effortless. I clipped it to my shirt and off I went snapping away. It was only when I began using the Narrative cloud service that I noticed the limitations. First off, Narrative has made certain tradeoffs in designing the process. For instance, to combat the issue of being able to wear the clip anywhere and in any orientation, the cloud service automatically crops photo content. Not ideal. Also, there are reported inconsistent processing times for photos uploaded to the Narrative service. Some users waited up to ten hours for photos to be made available. In addition, the automated “moments,” or selected groupings that the service makes, are sometimes questionable; however, you do have the ability to manually mark/ tag photos yourself on the smartphone app. You also have the option to store photos locally and not utilize the cloud service, though you do lose some functionality that way. Remember, there’s also no composition to the photographs taken automatically. In my experience, this means

HERE’S AN OLD SAYING in photography, stating,

“The best camera is the one you have with you.” Swedish-based startup Narrative used this as the jumping-off point for their Narrative Clip, described as “the world’s smallest wearable camera.” Released late last year, Narrative Clip is only 1.4 x 1.4 inches squared, .35 inches deep, weighs 0.7 oz., and captures a 5-megapixel photo automatically every 30 seconds. There are no buttons, no viewfinder, no focusing, no composing, and it makes no sound. You just wear the device and passively document your day with thousands of photographs taken automatically. You also have the option of manually taking additional photos by double-tapping the device. When finished, you connect the Clip to a computer and upload the photographs to Narrative’s cloud service, which sorts, stores, and sends the photos back to you, using an app on your smartphone. The basic idea is to capture every moment as it happens, without effort or interference. Some early adopters say it’s an amazing way to create a visual diary. Others say it’s a creepy surveillance tool. After using the Clip since early April, I think there’s some truth to both statements. When the Clip arrived, I was first quite surprised by how small the device is and how much technology is packed into such a small space. Inside the water-resistant American Society of Picture Professionals

lots of uninteresting photos but also the rare serendipitous one. The Narrative Clip was intended as a complement to the photos you might take with a camera or cellphone. It’s attempting to capture life’s moments not posed, staged, or set up. Because Narrative was born from a Kickstarter project (originally named Memoto), it won’t be a fully polished product from a team of 1,000 employees, but rather an inspired startup aimed at tackling a problem in the quickly evolving wearable space. Thus far, Narrative has been responsive to customer issues with an updated blog and active social media support (on both Facebook and Twitter). For example, they’ve put up tutorials on how to better understand the angle of view of the device (to help placement) and tips on how to better secure, so as not to lose, your Narrative Clip (a real risk). The Narrative Clip is smaller, lighter, and less obtrusive than its cousins Google Glass or the GoPro Hero. That helps to create interesting possibilities for the Clip moving forward. Ideas range from affixing it to your kite, your cat, or having a celebrity wear it to an awards show. However, the similar privacy and legal concerns are still there with all wearables. It’s worth mentioning that Narrative notes on its website, “Do not use where photographic equipment is not permitted.” Time will tell how culturally acceptable these types of recording devices will become. But for all its problems, there is great promise. I can see large potential in the automated processing of photo moments. At present, Narrative uses some mix of facial recognition, GPS location, focus, etc. to do this, but continuing to refine ways to automate photo editing might be interesting in a day when we capture photos all the time. Helping people find great photos with little effort might hold real value. Also, they have done a good job of making it simple to easily scroll through hundreds or more photos a day—no small feat. However, many people think the price point (at writing of this article, the Clip is $279 plus one year of cloud storage) might be a little high. Then again, what price would you put on a missed moment? ●

This quarter-sized camera may change the way you make memories. Search for #NarrativeClip on Instagram and Twitter to see how users are taking advantage of the hands-free shooting convenience.

For more information visit: http://getnarrative.com

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©Kristi Knupp 2013 Mentoring Program “Escape” LA Team

Great talent isn’t born. It’s developed. For more information on how you can get involved go to www.youngphotographersalliance.org

> Mentoring. > Scholarships. > Educational lectures.

inspiring. empowering. educating. @YPAFoundation

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SELF-PUBLISHING PRESIDENTIAL PICTURES BY DENNIS BRACK

Many of the excellent photojournalists walking into the White House press area today have never seen a darkroom. Some have never used a film camera. The old stories of pre-digital presidents were going to be lost, and since Dennis Brack has covered the White House for more than fifty years, he was the logical person to collect and preserve this history, but he couldn’t convince the publishers. This is his journey of self-publishing Presidential Picture Stories. ny in Hong Kong, with offices in DC, New York, and San Francisco, where you can examine the cover samples in person. The price and quality matched for my project, but before ordering, I made quite a few Blurb custom books of Presidential Picture Stories and gave them to friends for feedback. They liked the book—what else were they going to say?—but said it needed a little help. I soon found that proofreaders and editors are not the same, but they are both expensive. The second meeting with my editor was in my car, during his day-job coffee break. He told me how he wanted to completely reorganize the book and eliminate three chapters. I was ready to throw him out of the car, but thought about it and decided he was right. A traditional publisher would provide the proofing and editing for free, but I was my own publisher. Thankfully, the editor carefully kept the stories in my words, but put them in a form that a reader could follow—exactly what a good editor should do. With the extra editing help, the book was ready for the printer, and it was as easy as taking a disc and a check to the Asia Pacific office. The proofs arrived thirty days later as promised, and I signed off on those. Two months later, five pallets of books were loaded on a ship heading for the Panama Canal and on to a New Jersey port. In addition to the books with standard shipping, I paid extra for one box (twenty books) to be shipped via Fed Ex. It’s necessary to have at least twenty books available to send out to reviewers for advance publicity and long-lead publications.

I SPENT WEEKS in search of a literary agent—a thankless

task. A vague promise from a university press was floated. It would take years for a commitment, and their past books were boring, so I had to search for a better solution. A New York Times article started me thinking about self-publishing. With publishing companies, authors are lucky to make 7% of sales, and most books don’t sell more than 1,000 copies, while authors who self-publish make about 70% of the sales; the number of sales, however, directly relates to how hard and smart you work to promote your book. The stigma of self-publishing is vanishing, because many authors are producing their own books and devoting themselves to their own publicity. But beware: it’s a long, hard road. For me, the print-on-demand system was a logical choice, but the numbers and the quality didn’t work. I listened to photographers’ praises, but also to their horror stories. Steve Brown, a photographer who’s devoted his talent to self-publishing books on the WWII Memorial and the veterans who visit it, had both. While two veterans wanted to be buried with Steve’s book, there was also the call from a teary WWII hero who said that the middle section of his copy had just fallen on the floor. Steve took this call very seriously. His advice, “Quality control is essential. Take those first copies and twist and bend to make sure they are put together properly. Shake ’em and make sure your reader gets a good product!” Steve found Asia Pacific, a print management compaAmerican Society of Picture Professionals

DAVID HUME KENNERLY, GERALD FORD PRESIDENTIAL LIBRARY HARRIS & EWING, LIBRARY OF CONGRESS

Above: The photographers wanted a picture of President Ford using the new White House outdoor swimming pool. David Hume Kennerly, former TIME staffer and then the official White House photographer, asked the president if they could come back and take some pictures of his morning swim. The president said okay. (Dennis Brack pictured far right.) Left: Photographer Arthur Scott shows President Roosevelt the four finalists of the White House News Photographers contest. FDR picked the Grand-prize winner.

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HARRIS & EWING, LIBRARY OF CONGRESS

COURTESY ATHERTON FAMILY

OLLIE ATKINS ESTATE: THE NATIONAL ARCHIVES

Above left: Jim Atherton working for United Press International takes a “Hail Mary” photograph behind President John F. Kennedy during a presidential press conference. Press Secretary Pierre Salinger was angry, but JFK liked the picture and signed a print: “Two men at work.” Above right: President Harry S. Truman with his birthday cake from the “One More Club.” President Truman was the club president, and the White House photographers were the members. Right: Ollie Atkins editing his negatives in a makeshift darkroom in French North Africa during World War II. Atkins covered WWII for the Red Cross. Later he was a staff photographer for The Saturday Evening Post, the president of the White House News Association (1964-65), and the official White House photographer for the Nixon administration. Opposite page: The White House news photographers pose at the White House, circa 1930.

American Society of Picture Professionals

THE NATIONAL PHOTO COMPANY, LIBRARY OF CONGRESS

The Big Day! I rented a storage space that had the extremely important truck-loading dock, then rented a pallet jack, and was ready to receive. A major problem: the truck was eight inches shorter than the dock. The driver was not at all interested in my problem, and my books were just about on their way back to New Jersey. Finally, a friend and I began to break open the shrink wrap and unload each forty-pound box. Eventually, the driver pitched in, but this was definitely the low point of my publishing career, and if you’re self-publishing, you need to be prepared to do some of the dirty work to get your cut. Now that I had my books, I had to get them in people’s hands. If you want to do a successful self-published book, write it on self-publishing. I’ve bought every single one of those, and most yield only one or two good ideas, but, fortunately, they’re usually cheap e-books. You should start getting familiar with e-books, even if your goal isn’t to publish one. The best way to obtain a book review before the book is printed is by having an e-book on hand to easily send to a reviewer. I used NetGalley.com. For less than $300, NetGalley will offer your e-book to their list of reviewers. People actually like to review books, and they do it for free! NetGalley also provides a widget you can send to people you would like to review the book, who aren’t on their existing list. A person who purchases books for a large municipal library system told me that they look for the reviews from Amazon’s top 500 reviewers. I went to Amazon and found a list of their top reviewers, and I asked each one to review my book by using the NetGalley link. The Independent Book Publishers Association was also a huge help in learning about my new business—lots of tips from successful self-publishers, mostly pushing social media. I’ve always had a Facebook page. Now I have three, and I was banned from Facebook on one account, because I was making too many friends. Facebook doesn’t like that, so you need to create a fan page instead. I Twitter, Vine, Hangout, Google Plus, and Instagram with the best of them. I have

no idea if this helps, but this is the standard model of selfpromotion, and if people don’t find you on the web, they’re likely never to know you and your book exist. With social media covered, I had to figure out a way for people to easily order or find my book in stores. Greg Mathieson Sr. recently published US Navy Special Warfare/Navy SEALs and West Point Leadership: Profiles of Courage and has been successful selling without a distributor, but he has an ideal niche market, and it’s worked for him to sell directly to customers. If your niche is a little less well defined, you might have to suck it up and go with a distributor. With the self-distribution method, I sent my book package to Barnes & Noble, and while they immediately ordered seventy-five books, they would only purchase them through a large distributor like Ingram or Baker & Taylor. Unfortunately, these companies will not deal with self-publishers, so I found Bookmasters, which is actually now owned by Baker & Taylor. The distributor alignment is an additional percentage out of your cut, but it does allow selling to individual bookstores, and I’ve spent hours reaching out to independent bookstores. I confess, I am now a blatant spammer using MailChimp, but having a mailing list readily available does make the process easier. If you think you’ve got what it takes to make a book and keep momentum high for the self-promotion phase, you can go the self-publishing route like I did. There are definitely some advantages to the traditional publishing structure when it comes to big contacts and getting your book reviewed in major newspapers and magazines, but you have less control. I used to be a successful photographer traveling the world with my head held high. Now my days are spent traveling to bookstores and asking, “Do you have a book called Presidential Picture Stories?” When the clerk tells me that they don’t have it, I frown, shake my head, and with my head down, walk away. But maybe they’ll order the book, if I keep asking for it. ●

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THE LAW

since the infringements occurred over three years prior to the filing of the suit. Secondly, Wiley also argued that Psihoyos had failed to register three of the photos with the Copyright Office prior to the date he filed his complaint. Two days after Wiley filed its motion, Psihoyos finally sought to amend his complaint to allege infringement of the two correct photos. Ten days later, Psihoyos submitted applications to the Copyright Office to register his copyright on these photos, as well as two of the other photos that had not yet been registered. But Psihoyos’ slow move to action didn’t help his case. The District Court denied Psihoyos’ motion to correct the photos in the complaint, emphasizing Psihoyos’ significant delay in both requesting permission to amend his complaint and in submitting applications for the registrations. Various District Court judges in the Second Circuit have differed as to which rule—“injury” or “discovery”—should apply, having had no prior guidance from the Second Circuit itself on this matter. The District Court, in this case, held for the discovery rule, and since Psihoyos did not discover the infringement until 2010, his claims were not barred by the statute of limitations. But Psihoyos didn’t fare as well with the remaining two images, the claims for which were dismissed by the District Court, because, in the Court’s opinion, the complaint failed to satisfy the prior registration requirements. After trial on the remaining four photographs, the jury found: no infringement on one photo, non-willful infringement on a second photo (resulting in an award of $750 in damages), and willful infringement on the other two photos, resulting in awards of $30,000 and $100,000 in damages respectively. The disparity in the awards clearly emphasizes the need for copyright owners to timely register their copyrights in order to be eligible for statutory damages and attorney’s fees. Had Psihoyos acted earlier, he could have recouped more in the damages, but in failing to do so, he also opened up the case to an appeal.

HE CASE OF Louis Psihoyos v. John Wiley & Sons,

Inc., decided on April 4, 2014, involved claims by Psihoyos, a professional photographer, against Wiley, a prominent book publisher, that Wiley had used eight photographs in its textbooks without authorization or consent. Despite the simplicity of The United States Copyright Act requiring that civil actions for copyright infringement be “commenced within three years after the claim accrued,” there has been much discussion, and litigation, over the interpretation of the word “accrued.” Some courts have taken a restrictive approach to interpretation of the word “accrued,” called the “injury rule,” determining that the statute of limitations should run from the date on which the liability arises. Other courts have held the more expansive “discovery rule,” that an infringement claim does not “accrue” until the copyright holder discovers, or with due diligence should have discovered, the infringement. The Copyright Act also requires that no copyright infringement action can be instituted until preregistration or registration of the copyright claim has been made with the Copyright Office. The various Federal Courts of Appeals are divided over whether a pending application satisfies this requirement or whether an actual registration certificate is necessary prior to instituting an infringement action. Psihoyos sued Wiley for use of eight of his photographs in various Wiley textbooks from 2005–2009. Psihoyos filed his complaint in March 2011, after attempts to reach a retroactive licensing agreement failed. Psihoyos acknowledged during discovery that his initial complaint failed to correctly identify two of the photos that Wiley had actually infringed, instead mistakenly referring to two other similar photographs. However, Psihoyos did not seek to correct the error at that time, and this is where the complication arises. In August 2011, after discovery was complete, Wiley countered and moved for summary judgment on two grounds. Firstly the Copyright Act’s three-year statute of limitations barred many of Psihoyos’ infringement claims,

American Society of Picture Professionals

"These new textbooks have awesome photos! I wonder who took them...but I guess we'll never know."

On appeal, the Second Circuit panel affirmed the District Court and definitively rejected the injury-rule interpretation of when a copyright infringement claim accrues under the Copyright Act. As a result, the discovery rule now appears to have prevailed over the injury rule. This is of utmost significance to copyright holders, since many infringements are not actually discovered within three years of the actual infringement. As the court recognized, Psihoyos submitted the applications after discovery had been closed and after Wiley had filed a summary judgment motion. The Circuit Court rejected Wiley’s argument that it should have been allowed to amend the complaint to cure this defect on the grounds that Psihoyos and his counsel had been on notice since the outset of the case to produce registration numbers for the photographs at issue. In the court’s words, “to allow amendment here would prejudice the defendant with both significant delay and expense associated with further, belated discovery on these issues.” Wiley also argued on appeal that the statutory-damages award of $30,000 and $100,000 bears no rational relationship to the plaintiff ’s actual loss and is “an epitome of a runaway award.” But the Second Circuit rejected that contention, citing the judges must consider other factors as well, including: the infringer’s state of mind, the expenses

saved and profits earned by the infringer, revenue lost by the copyright holder, the infringer’s cooperation, and conduct and attitude of both parties. Both courts found that the evidence supported a finding of willfulness, that Wiley earned substantial profits, and the jury may have considered Wiley as a repeat infringer in need of deterrents. This opinion addressed three major areas concerning copyright infringement litigation. The first, that the discovery rule and not the injury rule should be applied in determining when an action accrues, can only help copyright owners who are pursuing copyright claims. On the other hand, it is unfortunate that the court did not clarify the Second Circuit’s approach to whether or not a pending application satisfies the Copyright Act’s requirement of copyright registration as a pre-condition to instituting an infringement action. As to statutory damages, both the District and Second Circuit Court decisions emphatically rejected the argument that an award must bear a rational relationship to the plaintiff ’s actual loss. This again, should be helpful to copyright claimants when the defendant is a repeat offender or otherwise would be adversely affected by the considerations set forth above in the Circuit Court’s rationale. It’s a major victory for photographers, but a lesson should be learned from this case: don’t wait to file your copyrights. ●

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QUALITY IMAGE EDITING ON THE GO BY BEN HIGH From left: VSCO Cam and Litely

I’VE FOUND MYSELF shooting less and less with my real cameras and more and more with my cell phone. I have amazingly capable digital camera systems with all manner of specialty lenses and gadgets, and I have analog cameras that make some of the most beautiful negatives, but when I’m out and about, or, increasingly, when my brand new daughter is doing something cute, it’s my cell phone that I reach for. The fact that my phone now has the same resolution as the camera that I carry around makes my phone even more comparable, except for the image-editing quality. Over time, I’ve found that the gimmicks that I’ve written about continue to be fun now and again, but having a solid image editor with a quick, easy workflow is the key to making the camera in my pocket so useful. These are a few apps that do this pretty spectacularly.

something like $7 or $8, and I officially have more than enough. Like most good mobile photo editors it also has a full complement of tools to tweak your images, including exposure, contrast, color temperature, crop, vignette, fade, and more. It’s handy and beautiful. They also provide a web gallery (VSCO Grid) that’s semi-useful, but which I think may have further potential down the road.

LITELY – Lite.ly Litely has recently come along as a VSCO Cam contender. They’re also purveyors of Lightroom/Aperture presets. Their app, too, is a gateway to get photographers into their presets, but Litely’s are a little less technical, with filters like “Argyle” and “Linen” instead of “Fuji Neopan 400.” However, the app does offer exposure, sharpen, vibrance, vignette, and crop. Litely’s UI is intuitive and easy to use where VSCO Cam’s could be just a little easier. The really delightful feature that Litely brings to the table is the ability to pull up a before/after split to see if all your editing and goofing around with the image actually made it look better than before you started filtering. Unfortunately, Litely is only available for iOS right now, but Android users should have options soon.

VSCO CAM – vsco.co

VSCO, Visual Supply Co., is a big player in the Lightroom/Aperture presets market. They make high-quality film emulation filters for your digital workflow. Their mobile app, VSCO Cam, is my favorite photo app in the world. Filled with easy-to-apply filters adapted from VSCO’s stable of beautiful film emulations, VSCO Cam makes it easy to bring the right mood to a photo with a few swipes. A large number of filters are free, with the option to buy more for a few dollars here and there. I think I’ve spent American Society of Picture Professionals

A few other similar apps worth trying include: Pixlr Express by Autodesk, Snapseed from Nik Software, and Photo Editor by Aviary. ●

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WEST/LA MIDWEST NEW YORK NEW ENGLAND

Photo of historical American Civil War photograph from 1863; photographer unknown.

Inside the Huntington photo archive. (L to R: Stacy Cortez-Graves, Kymri Witt, Vivian Kanchian, Courtney Hopkins, Debra Weiss, Helen Ashford, Bob Wright, Kim Phipps, Michael Masterson, Cristin Wills, Jeremy, and Jennifer Watts)

viewing, and we were treated to interesting anecdotes of how these images were sought and acquired over the years. The Huntington is a private, collections-based research institution, where people traditionally have to come on-site to conduct primary research. It serves mostly scholars associated with universities and colleges or independent students working on books. Some of the original photographs we were able to view close-up have never been seen by the public, including: several haunting images from the American Civil War; the archive of Maynard L. Parker, who was the principal photographer for House Beautiful during its postwar heyday; and oneof-a-kind images of the early US railroad, made from 16”x20” glass-plate negatives. Afterward, guests were free to explore the amazing Huntington Gardens. The property covers 207 acres, of which approximately 120 are landscaped and open to visitors. More than 14,000 different varieties of plants are showcased in more than a dozen principal garden areas. To get an idea of the vast historical photo collection, visit the brand-new Huntington Digital Library at http://hdl.huntington.org.

WEST/LA HUNTINGTON PHOTO ARCHIVE TOUR By Kimberly Phipps On Saturday, May 3rd, the SoCal West chapter got a rare opportunity to take a behind-the-scenes tour of the Huntington photo archive. Located just outside of Pasadena, California, The Huntington is a leading research library with a collection of more than a million images, many dating back to the late 1800s. There are images of every kind spanning the nineteenth to the twenty-first century. Because The Huntington is a research library, most people will never see more than a fraction of their collection. Only a handful of libraries have the resources to store, catalog, and maintain these irreplaceable images, and The Huntington Library is one of them. The ASPP members and friends who attended the tour saw firsthand the astonishing depth and breadth of the collection. Jennifer Watts, the curator of photography for the collection, brought out some original prints for our American Society of Picture Professionals

MIDWEST MIDWEST PEER-2-PEER By Doug Brooks

Visual Connections held their Chicago show on April 24. ASPP produced both a morning panel (Stock Licensing Today: See Clearly Through the Fog of Change) and an afternoon panel (Licensing Stills and Footage: What You Need To Know). The morning panel explored the chaotic world of the stock industry through the wide experience of panelists, including attorney Chris Sandberg, content manager Kim Tanner, business development manager Mary Ellen Jensen, technology expert Doug Dawirs, art buyer Kimber Leigh Nussbaum, and photographer Tim Klein. National board member and researcher Doug Brooks moderated. His questions to the panel touched on changes in licensing models (particularly in the educational sector) to the recent move by Getty to allow bloggers access to images for free, relying on embedded ads and link-back attributions. The hour-and-a-half afternoon panel was moderated by ASPP’s Danita Delimont and covered key aspects of sourcing, licensing, and using images and footage. Panelists included Kevin Thompson, an attorney at Davis McGrath LLC in Chicago; Judy Feldman, principal at Feldman & Associates; and Darryl Jacobson, sales manager at Superstock. Additional discussions touched on Creative Commons licensing issues, licensing from museums, pricing music, footage, and fine-art usages.

On the eve of Visual Connections’ return to Chicago, the Midwest chapter seized the opportunity to host ASPP members and others from across the country. With four national board members, seven Midwest board members, and executive director Sam Merrell on hand, we welcomed nearly fifty guests. A mix of stock agents, image researchers, art buyers from the publishing and advertising industries, photographers, web designers, and graphic designers shared their experiences and networked at the Fado Irish Pub in downtown Chicago. Meet-ups like this one remind us how incredibly diverse, talented, and wonderful the members of our association truly are and how fortunate we are to have a networking forum. Photographer Robert E. Potter III covered the event on behalf of the ASPP and did so in true Potter style. For lighting, he gave everyone small handheld battery-powered LED lamps! Everyone enjoyed the evening and the Chapter extends a heartfelt thank you to our sponsors for their generosity and continued support: Danita Delimont Stock, Bridgeman Art Library, and Universal Images Group. If you would like to weigh in on our next chapter event in the Chicago area, we would love to hear your ideas. Please drop an email to Doug Brooks: dougbrooksaspp.midwest@gmail.com.

VISUAL CONNECTIONS By Laurie ShoulterKarall

Midwest chapter party the night before Visual Connections 2014 in Chicago. (L to R: Barbara Smetzer, unknown, Leigh Montville, and Donna Snowsill)

Visual Connections exhibitors and attendees alike were comfortable in The Ivy Room at Tree Studios.

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CHAPTER CAPTURE

NY chapter gathering at Jack Demsey’s Tavern for our monthly Peer-2-Peer.

hoping that they, in turn, will convene their own. We’d like this activity to culminate in the fall, with another town hall during October, New York’s “Photo Month.” We believe this will empower our members to take a larger part in the changes in the industry, rather than feeling only victimized by those changes. The New York-area chapter will be planning and building more educational programs. This spring, we took a slight detour from our usual rights and permissions education and hosted a lecture and exhibition of the use of evidence and pictures in genealogy. Raymond Gill, a Russian linguist in the US Air Force—and an amateur genealogist who has traced his family back 400 years, over three continents—led the discussion. Gill answered questions about how pictures can enhance an online study of one’s lineage and how the provenance of pictures can be established. He also talked about the pitfalls and clues hidden in family oral histories. We also discussed how family histories might be a new marketplace for visual researchers to explore. As we go to press, the New York-area chapter is planning its always successful summer party with our friends at our sister organization, ASMP NY. If you plan to be in the NYC area at all this year, please reach out to us to see if there is something available to take part in, even if only a coffee or drink.

NEW YORK PEER-2-PEER AND TOWN HALLS By Darrell Perry The first quarter of 2014 brought a lot of change to ASPP/ NY. Darrell Perry joined the helm as chapter co-president with Kris Graves, and Mary Fran Loftus and Perry instituted a new monthly meeting called ASPP NY: Peer-2Peer. Members meet at a midtown Irish bar in a semi-private room to share beverages, snacks, and work-related issues. Questions around usage, best practices, getting work, drastic changes in the workplace, and layoffs are covered. Sometimes remedies are offered, but in other cases, information and leads are exchanged. An important outgrowth of Peer-2-Peer is the “town hall.” In June, instead of our regular monthly bar meeting, we will be taking a larger space to hold a local chapter town hall. Starting with putting out ideas and questions about the photo industry, then breaking up into groups, we’ll see if we can come up with answers and strategies for facing change, preparing for future changes, and, if possible, effecting change to insure a place for the photo editor/researcher/archivist/producer at the creative table of the future. We intend to send out the questions and answers derived from the NYC-area town hall to the other chapters American Society of Picture Professionals

NEW ENGLAND PETER VANDERWARKER: INTERVENTIONS By Sharon Donahue

ASPP joined a reception for local architectural photographer, Peter Vanderwarker, at Boston’s Gallery NAGA on March 20, 2014. Vanderwarker’s work has been published internationally in books and in magazines. He started his career as a documentary film producer at the University of California, Berkeley before switching to architecture. For many years, Robert Campbell and Peter Vanderwarker’s Cityscapes feature was a mainstay of The Boston Globe Magazine. It consisted of a brief text about a site in the city accompanied by a pair of photographs. The oldest were archival; the newest were taken by Peter Vanderwarker and collected into a book called Cityscapes of Boston (Houghton Mifflin, 1992). In 1989, Vanderwarker received an NEA grant to document Boston’s Central Artery Project. He calls this the best use of the taxpayers’ money, since he has been “untangling Boston’s history” for more than 20 years. His book, The Big Dig: Reshaping an American City (Little, Brown, 2001), created for Grades 5-8, uses vibrant, fullcolor photography to summarize this complex recon-

struction project. Vanderwarker’s presentation for ASPP detailed, through anecdotes and techniques, how a few of the photographs in the NAGA exhibit were created. For instance, to capture a clear overview of the Central Artery traffic, Vanderwarker positioned a friend to have his car break down on one side of the highway. And in 2013, when he was given the opportunity to photograph Robert Motherwell’s studio, Vanderwarker pointed his camera down and instead took a photo of paint spattered on the floor. As a 37 ½ x 50” art print hanging in Gallery NAGA, this looks like an original Motherwell abstract. In Vanderwarker’s opinion, architectural photography has changed from seeking bold, almost cubist details to a new focus on flat, geometric surfaces. Two photographs in the exhibit illustrate both these eras in photography. A black and white detail of the Old Colony Railroad Bridge (a rolling lift bridge built in 1892) reflects the vigorous time period when it was built, while the seemingly collapsed and geometric view outside a window in the Whitney Museum in New York reflects its time period. Vanderwarker’s recent fine art exhibitions include shows in New York and Boston. Upcoming photo shoots will include projects in Italy (Tuscany), Africa (Rwanda), and China (Hangzhou). To see more of Vanderwarker’s photography go to: www.vanderwarker.com.

Peter Vanderwarker addressing ASPP New England members at Gallery NAGA, Boston.

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BOOK REVIEWS

THE TRAVELING PHOTOGRAPHER: A GUIDE TO GREAT TRAVEL PHOTOGRAPHY Sandra Petrowitz Rocky Nook Paperback, 224 pages, $32.95 PITY THE TASK confronting Sandra

Petrowitz or, for that matter, anyone else attempting to roll out a new book about travel photography. The challenge is enormous because the masterpiece of the genre is photographer/writer/educator Bob Krist’s Spirit of Place: The Art of the Traveling Photographer (Amphoto, 2000). Despite being a turn-of-the-century tome lacking even a single reference to digital photography, Krist’s book will always be the champion that the Johnny-come-latelies try to knock off its well-deserved pedestal. Krist understood that his focus was on the “travel” in “travel photography,” rather than on photography basics that could apply to any photo genre. Krist also had a zest for both the act of traveling, as well as for his chosen craft of photography, and the pictures he used are just so darned good, despite being captured in what now seems a rather quant twentiethcentury style. Which brings us to The Traveling Photographer, a nice little intro to taking pictures around the world that certainly doesn’t lack for useful tips, advice and recommendations on everything from bad-weather gear to exposure and protecting your valuable equipment while on the move in foreign environments. Most of the 200+ photos are reproduced large, with a number of double-trucked spreads, which gives Petrowitz’s images substantial impact. Especially illuminating is when she shows us a American Society of Picture Professionals

A splash of color: “My fellow traveler walked into the picture unknowingly—she couldn’t see me, because I was crouched behind and below the sculpture of ice—and then sat down right in the middle of my view. Sometimes, all you need as a photographer is a bit of luck.” Elephant Island, Antarctica. Nikon 3700, 17mm, 1/1000s, f/8, ISO 800.

pair of pictures and says, “This one is good, but that one is even better and here’s why...” Having both read and written about a number of travel photography books over the past decade, however,

I see the same drawbacks in Petrowitz’s book as in those other post-Krist attempts at explaining the how’s and why’s of capturing images while on the go. For example, with chapters like “The Diagonal,” “Horizon,” and “The

petent directions for taking travel pictures in a fairly detached style? Nothing, but, tell me, what is it really like to be a travel photographer? That’s what I want to hear about, since I can learn the fine points of camera operation and composition lots of other places. What’s the worst thing that ever happened to you on the road? The most amazing? How do you talk yourself into a shooting position you really have no right to be in? How do you get up the nerve to go out shooting at night in a place you’re a little scared of? What causes you to sweat bullets when you’re a traveling photographer? And, tell me about a time when you worked and worked and worked a shot until you got something you’re really, really proud of. It’s that sort of blood, sweat, and

tears anecdotal account of travel photography—one in which I can actually feel the fatigue in the writer’s bones after a grueling day of shooting—that I find myself yearning for. Something less informational and more inspirational. The Traveling Photographer does a commendable job of giving its readers an objective and wide array of tools for tackling travel photography and therefore will probably inspire a fair number to think, “Hey, I can do that!” And that may be both the blessing and the curse of The Traveling Photographer, for as Bob Krist said in Spirit of Place a decade and a half ago, “Travel photography, like most things in life, is nowhere near as easy as it looks.” — PAUL H. HENNING

Benefits of a Foreground,” the first third of Petrowitz’s book details concepts that should have already been covered back in Photography 101. To her credit, these compositional concepts are illustrated with some of her very fine travel photos, and photographer newbies will certainly benefit from the information that’s presented; but while going back to the basics of composition might be a helpful brushup for some of those already beyond the beginner level, more likely this is simply irrelevant old hat to more advanced readers. After finishing The Traveling Photographer, I felt a bit like I’d just dined on fast food. It was filling…lots of facts and advice…but I was hungering for more of something. What’s wrong with presenting perfectly com-

“Without the photographer in the foreground, this would have been a fairly standard picture from the Libyan desert.” Nikon D700, 48mm, 1/250s, f/8, ISO 200.

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COVER IMAGE COURTESY OF THAMES & HUDSON

BOOK REVIEWS ASYLUM OF THE BIRDS Roger Ballen Thames & Hudson Hardcover, 144 pages $60.00 A LAPSED PAINTER, Roger Ballen

has long had an affinity for the potential of walls, photography’s literal canvas, where ephemera hangs and graffiti adorns. From his early work in the ’70s documenting dorps (small South African villages), walls have been an integral feature of Ballen’s work, their blankness a metaphor for the out-of-the-way places he chooses to photograph. Since 2003, when he began drawing and painting again, Ballen’s photography has been dominated by his own primitive graffiti aesthetic that he scrawls on walls or presents via weird artifacts, collages, and sculptures. In his new book, Asylum of the Birds, his painterly mentality helps him situate subjects—animal and human—in front of marked walls. In ninety photographs shot in a mysterious house in suburban Johannesburg, which he sometimes refers to as “the asylum,” we get a glimpse of dreams bursting into reality. It’s the kind of spooky setting David Fincher would sell his soul to use. Ballen straddles the line between photography and image making, and Asylum of the Birds is full American Society of Picture Professionals

Liberation, 2011.

of this tension. The photographs are strewn with curios both tactile and drawn: bones, masks, dismembered figurines, hair, wires, human subjects who have been reduced to their pieces. Human facelessness is a common motif in the asylum photos. Replacing faces is a proliferation of stand-ins, with dolls’ heads, birds’ wings, the walls of the house covered in Ballen’s crudely drawn cave-painting faces, all big robot teeth and simple circles for eyes. Having made his name photographing people, Ballen has now reduced them to their parts, leaving his main subjects, living birds, to haunt the compositions. No matter the angle of their heads, their innocent black eyes project constant nervous energy toward the viewer. Throughout the book, birds provide anchors of life and spontaneity to the oth-

erwise lifeless, meticulously staged phantasmagoria of Ballen’s imagery. On the dream-like quality of his work, Ballen remarks: “It’s one thing to find yourself in this deeper subconscious but it is another to bring the buried fragments out so that they can manifest themselves. That is the crucial step: bringing the pieces to the surface and linking them with the exterior world that one is trying to transform through the camera.” To look at Ballen’s photographs is to enter some sort of dream state. On first blush, the images seem grotesque, terrifying even, but as they become more familiar, there is a certain fantastic, magical quality, the jumble of the subconscious situated very intentionally by an expert interpreter of our dreams. —JOHN W.W. ZEISER

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CONTRIBUTORS ISSUE 2 / 2014 THE PICTURE PROFESSIONAL

PAUL H. HENNING was a professional location photographer for fifteen years. He co-founded and directed Third Coast Stock Source, and was manager of European operations for Comstock Picture Agency in London. He’s served as acting managing director at the Robert Harding Picture Library and is the founder of Stock Answers, a consultancy that works with stock picture agencies and photographers worldwide. Paul also serves as the director of business development for Tetra Images, a New Jersey–based royalty-free image production company. The first poem JOHN W.W. ZEISER wrote was a crude imitation of William Blake’s “The Tyger.” Finding his elementary school teacher audience receptive, he decided to keep writing. He is now a freelance writer and editor living in Santa Monica, California, where he spends a good deal of his time documenting, on a camera phone, the growth of his heirloom tomatoes. You can follow him at @jwwz. SAMARUDDIN STEWART is a 2013 John S. Knight Journalism Fellow, researching image forensics at Stanford University. Prior to Stanford, Samaruddin had worked at AOL, AFP, The Arizona Republic, and the US State Department. He’s interested in all things tech + media. Contact him at mediasam@stanford.edu or follow him @samsends. JENNY RESPRESS started speaking at fourteen months and hasn’t stopped since. When she isn’t busy finding hilarity in the absurd, she can be found playing with her shih tzu, Oliver. She lives in Boise, Idaho, and is currently the social media manager for The Picture Professional and the e-news blog editor for ASPP.

JOEL L. HECKER, Esq. practices in every aspect of photography and visual arts law, including copyright, licensing, publishing contracts, privacy rights, and other intellectual property issues, and acts as general counsel to photography and content-related businesses. In addition to writing for The Picture Professional, Hecker lectures and writes on these issues in PhotoStockNotes, the New York Bar Association Journal, and the association’s Entertainment, Arts and Sports Law Journal. He is a past trustee of the Copyright Society of the USA, and past chair of the Copyright and Literary Property Committee of the New York City Bar Association. Tel.: 888-381-7085; website: www.RussoandBurke.com; email: HeckerEsq@aol.com. BEN HIGH is an Iowan turned Angeleno turned Iowan. He used to be a music industry wonk and commercial photographer. Now he designs fancy (sometimes photography-related) jewelry and shoots Polaroid and instant film. You can see what he’s up to at benhigh.com. Art producer and owner of NEAT Production, ELLEN C. HERBERT is a career photo professional. She counts herself lucky to collaborate with a variety of clients, from publishers and ad agencies to filmmakers and photographers. Her home base is East L.A. From JFK to today, DENNIS BRACK has photographed ten presidential administrations of the United States, and he hopes to continue this coverage for years to come. Represented by Black Star, he’s shot for LIFE, Newsweek, and averaged a picture a week in TIME for twenty-three years. Brack worked with, drank with, and laughed with many of the colorful characters who photograph the presidents and their families. He’s interviewed photographers young and old to collect their stories, and the result is the book, Presidential Picture Stories: Behind the Cameras at the White House. www.DennisBrack.com

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LIFE IN FOCUS: AVA ALAMSHAH

Earlier this year, Amtrak officially launched their #AmtrakResidency program for creative professionals wanting to utilize elongated train trips to work on a specific project. In California, talk of a high-speed bullet train has divided the state, and every May, stations around the nation invite families to special National Train Day events. More and more Americans are abandoning traditional plane and car travel for the romantic, and slightly slower, railways. I traveled alone to Seattle by train on a thirty-six hour trip. I had plenty of time to gaze out the window, read, photograph, and make new friends. I snuck a couple of photos of the man by the window, and I think he knew what I was up to, yet didn’t seem to mind. I still get nervous photographing strangers, but the light had the most beautiful, golden glow—I couldn’t resist. Later on, I learned that he was headed to Eugene, Oregon to visit his daughter. —Ava Alamshah

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Umberto Boccioni, “Under the Pergola in Naples.” ©Alinari/Art Resource, NY; “Dynamism of a Racing Cyclist.” ©Album/Art Resource, NY; “Spiral Construction.” ©Album/Art Resource, NY