Does anything, anywhere strike fear in the heart of the Nikon pro?

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CAUSE AND EFFECT
© 2006 Nikon Inc. Each item pictured sold separately. No animals were harmed during production.
DIGITALLY TREATED ENVIRONMENTAL PORTRAITS
THE ART OF THE ESTIMATE: PART 2
SMILE WHEN YOU SAY THAT
WORKING IN BRIDGE
YEAR END 2006
EXCERPTED FROM EDDIE TAPP’S
PHOTOSHOP WORKFLOW SETUPS
A S M P BULLETIN
12/4/06
Does anything, anywhere strike fear in the heart of the Nikon pro?
There are no intimidating assignments when you’re shooting with the new Nikon® D2Xs.,™ an evolution of the breakthrough
Nikon D2X, the camera Nikon Pro Joel Sartore called “the f inest camera I’ve ever worked with.” The core of the Nikon Pro
Digital System, the new Nikon D2Xs def ines perfor mance on demand. For more wild details, visit nikondigital.com.
The Nikon D2Xs features enhancements in several key areas:
• Advanced Polymer Network viewfinder mask for High Speed Crop Mode. • 1005-pixel 3D Color Matrix Metering II optimized for
use with High Speed Crop Mode. • Sharp, clear 2.5 inch TFT LCD display with 170-degree wide-angle viewing. • Broad Color Mode
options including black and white RGB capture. • Improved battery life with EN-EL4a for up to 3800 images per charge.
PLUS:
Get a Blog
Revealed in a Portrait
Reps, Marketing Assistants
and Consultants, Oh My!
The breakthrough Nikon D2Xs, at the heart of the Nikon Pro Digital System.
PRSRT STD
U.S. POSTAGE
PAID
EASTON, PA
PERMIT NO. 321
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Covers
© Aaron Corey
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What was Canon thinking when they made
the world’s fastest digital SLR* even better?
Peter Read Miller, Sports Illustrated
Project3
“Exactly what
I was thinking.”
Peter Read Miller
In my business, you have to be
fast. Lightning fast. And nothing’s
faster than my Canon EOS-1D Mark II N. But even with
its 8.5 frames-per-second speed, 8.2-megapixel
CMOS sensor and incredibly rugged body, Canon
wasn’t satisfied. They know pros like me demand
more. So they delivered a larger, brighter 2.5-inch
LCD screen and larger burst mode, for starters. So
you can thank photographers like me for making
the world’s fastest camera even better. And we can
all thank Canon for listening.
For more information on our lineup of EF lenses,
EOS accessories and PIXMA Pro Printers, visit us at
www.usa.canon.com/consumer
EOS-1D Mark II N
• 8.2-MEGAPIXEL CMOS SENSOR
• DiG!C II IMAGE PROCESSOR
• 8.5 FRAMES-PER-SECOND
• 2.5-INCH LCD SCREEN
• WEATHER-RESISTANT BODY
• PICTURE STYLE FUNCTION
To learn more about how you can get
the most out of your EOS-1D Mark II N,
visit the Canon Digital Learning Center at
www.photoworkshop.com/canon
Official Camera
of the NFL
Allrights
rightsreserved.
r
All
For more information, visit us at www.canoneos.com or call 1-800-OK-CANON.
©2006 Canon U.S.A., Inc. Canon, EOS, DiG!C and PIXMA are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries. IMAGEANYWARE is a trademarkofofCanon.
Canon.
All team names/logos are trademarks of the teams indicated. All other NFL-related trademarks are trademarks of the National Football League. NFLPLAYERS is a trademark of PLAYERS INC. *As of August 2006.
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ASMPCONTENTS
[YEAR END 2006]
2 PRESIDENT’S LETTER
Clem Spalding urges members to do
the right thing
4 DIRECTOR’S COMMENTARY
Eugene Mopsik reviews smart ways to
start the new year
8 NEWSLINE
Studio Midwest opens it’s doors in
Indianapolis, ASMP Prosurance equipment coverage offers enhanced benefits, Coalition of industry associations
convenes to discuss pressing business
concerns
10 BEHIND THE SHOT
Scott Indermaur’s subjects are
revealed in a portrait
12 BETTER BUSINESS
Reps, Marketing Assistants
and Consultants, Oh My!
By Leslie Burns-Dell’Aqua
14 MARKETING STRATEGIES
2-3
Cause and Effect: Digitally Enhanced
Environmental Portraits
24 LEGAL UPDATE
Get a Blog: Marketing Success in the
Blogosphere By Ethan G. Salwen
Momentary Calm in the Eye of the
Orphan Works Storm
By Victor S. Perlman
17 BOOK LOOK
25 PARTING SHOT
Gary Gladstone’s Reaching Climax,
Steve Simon’s Heroines & Heroes
18 THE ART OF THE ESTIMATE
Part 2: Smile When You Say That.
Understanding your business
needs—and those of your client—
makes a world of difference
By Amy Blankstein
11 OUTSTANDING VOLUNTEERS 20 TOOLBOX
Bill Blanchard’s quiet, big presence
22 PORTFOLIO
Working in Bridge By Eddie Tapp
Marion Warren’s classic vision of the
Chesapeake endures in digital prints
ON OUR COVER: © Aaron Corey, 2005 <www.aaroncorey.com>.
Family Portrait. Corey shot photo elements on medium format
film, then scanned and combined three parts into an end product
for portfolio and promotional use. Our portfolio section of digitally manipulated environmental portraits begins on page 22.
THIS PAGE: © Flynn Larsen, 2006 <www.flynn-larsen.com>.
New Kansas City subdivision, and the home of the Chandler
family, from Flynn Larsen and Blue Chevigny's The You Are
Here Project <theyouarehereproject.com>. Larsen is interviewed about her project blog on the ASMP Web site at
<www.asmp.org/go-/blogs>. For more about blogs and what
they can offer, turn to page 14.
12/4/06
© John Langford
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John Langford, a board member and program chair for the Austin–San Antonio chapter, made this issue’s portrait.
John’s images are distinguished by a wry sense of humor, vibrant colors and compositions. He experiments relentlessly to keep his work fresh. He also enjoys subjecting his 48-year-old victims to poses that promote joint inflam-
PRESIDENT’SLETTER
mation and dislocation. Visit <www.johnlangford.com> to see more of his work.
THE RIGHT THING
O
ne of my favorite films is Spike Lee’s explosive
1989 masterpiece, Do the Right Thing. The movie
pulls you through a complex web of good intentions, irresponsibility and terrible misunderstandings, all
leading to a violent climax. If only the players in this
tragedy had considered the true intent of their perceived
foes or examined their own actions more carefully, senseless waste and pain could have been avoided. If only they
had done the right thing.
In the ASMP, more than 60 years of experience have
taught us that doing the right thing for both the organization and its members is also a complex affair. For the
past several years we have revamped our approach, and
the positive evidence abounds. We’ve taken a pivotal
leadership role in the fight against Orphan Works legislation, introduced Web modules to help members with
copyright registration, model releases and terms and
conditions, covered the entire country with our It’s Your
Business programs—these are some of the right things
that the ASMP has accomplished. The respectful collaboration we’ve built between staff, volunteers, members
and sister organizations has permitted us to achieve new
benchmarks in membership, benefits, productivity, influence and value. I would never claim perfection, but every
indicator shows that we are on the right track. We are
doing the right thing.
Now, we ask you, our fellow members, to do the
right thing.
In February 2007, you will receive your usual national
directors ballot. You will also be asked to vote on a referendum to modernize our constitution, which will allow
the ASMP to remain strong. You need to do the right
thing and vote Yes.
The new constitution contains three essential changes:
It will permit the ASMP to use electronic communications
for official business, thus saving us all time and money. It
will give our Specialty Groups (SGs) official status that is
currently only enjoyed by our chapters. SGs need a more
permanent position in the ASMP universe. It will reform
our antiquated process for setting dues, thus permitting
the ASMP to operate at top efficiency.
The first two items, electronic communications and
Specialty Groups, are no-brainers. Member surveys and
ASMPBULLETIN
other feedback indicate virtually all members support
these changes. The pivotal issue is the matter of how the
ASMP sets dues.
Currently, the national board sets dues levels for
Associate and Affiliate members with a simple majority
vote. But General membership dues are determined by
a laborious and costly referendum process. We can’t
adjust General member dues by a dime without getting
two-thirds of the electorate to vote Yes. A swell idea in
the ASMP’s early days when the entire electorate could
fit around a kitchen table in New York City. Yet, more
than 60 years and 5,700 members later, this measure has
become excessively cumbersome—it threatens to strangle us. This has hampered the ASMP’s ability to function.
It is not the right thing.
The new constitution will streamline this important
process by making the national board responsible for
directly setting all dues levels. One important element
of this change will be the fact that dues cannot be
changed two years in a row. The new constitution will
still preserve members’ control of dues because only
General members can serve on the board. They pay the
same dues as any other member and are elected by
you, fellow members. A special, super majority of threefourths of the full board is required to change dues.
This assures that there must first be a strong consensus
for change. Members can reverse any action by the
board, including dues levels, by holding their own referendum. This process will be expedited by the proposed changes to electronic communications.
Common sense also dictates that no board could raise
dues to excessive amounts without also seeing membership numbers and thus revenues, drop proportionately. No
one, including myself, would remain a member if the ASMP
did not present a good value for my business interests. The
market itself will keep a cap on dues, and we all know how
demanding the market can be.
It is now time for the ASMP and its members to take
the next step forward. It is time to vote Yes for a stronger
future. It is time to do the right thing.
Clem Spalding
President, ASMP
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[DIRECTOR’S
Volume 26,
Number 2 / Year End 2006
The nomination period for the national board of
directors will be open from December 1, 2006, to
December 31, 2006.
Any general member may declare his or
her candidacy for the directorship. The election
will be held from February 15, 2007, to March
15, 2007. Winners will begin their term at the
next regular board meeting following their election (expected to be scheduled for April or May
2007). Five (5) directors will be selected for a
three (3) year term.
A director’s term is three (3) years. Each
candidate must be willing to attend a minimum
of two (2) board meetings per year, which usually involves a Friday, Saturday, and Sunday. Other
duties are assigned by the board to individual
directors.
If you wish to declare candidacy, please
complete the following and fax or mail to:
ASMP National
150 North Second Street
Philadelphia, PA 19106
Fax: 215-451-0880
I declare my candidacy for a seat on the national
board of directors. I am a general member of
ASMP and understand that the commitments of
a director of ASMP include having to attend a
minimum of two (2) board meetings a year, as
stated above.
DATE
COMMENTS]
SMART
T
Board of Directors Richard Anderson, Lon
Atkinson, Susan Carr, James Cavanaugh, Ben Colman,
Lynne Damianos, Jim Flynn, John Giammatteo,
Judy Herrmann, Todd Joyce, Bruce Kluckhohn, Peter
Krogh, John Slemp, Clem Spalding, Thomas Werner
Executive Director Eugene Mopsik
Managing Director and General Counsel
Victor S. Perlman, Esq.
General Manager Elena Goertz
Technology Director Mike Zornek
Web Master Christine Chandler
Communications Director Peter Dyson
Bookkeeper Christine Chandler
Receptionist Steve Robinson
Copyright Counsel Charles D. Ossola
Advertising Representatives
East Coast Jules Wartell
jules.wartell@russellgroupltd.com
West Coast Richard Wartell
rwartell@writeme.com
Produced by PDN Custom Media & Events
Publisher Lauren Wendle
Associate Publisher Michael Hatherill
Senior Editor Jill Waterman
Associate Editor Amy Blankstein
Art Director Michael Amaditz
Production Director Daniel Ryan
Contributors Leslie Burns-Dell'Acqua, Jessica
We have learned that our members are
fiercely independent and apparently lack
the desire to act as a group
Proposed Orphan Works legislation has once again made it
important for photographers to speak with one voice to be effective in lobbying and further influencing our legislators. The
ASMP is one leader in this effort, working closely with other associations to multiply our influence. Unfortunately, the forces
aligned against us are better organized and better funded.
<www.asmp.org/orphanworks>
The same Internet that has created much of the pressure to make
images free and available for the “public good”— spawning sites
like YouTube and MySpace, where many of your images appear
without permission, attribution and compensation—will, in the
near future, contribute to the diminishment in power and importance of traditional stock licensing models. The Internet is a great
equalizer and photographers are in an improving position to take
back control of their own images through the use of licensing por-
Gordon, Eugene Mopsik, Victor S. Perlman,
Ethan G. Salwen, Clem Spalding, Eddie Tapp
Copy Editor Lavina E. Lee
The ASMP Bulletin, is published five times a year by ASMP, The American Society of Media
Photographers, Inc., 150 North Second Street, Philadelphia, PA 19106. Ph: (215) 451-2767,
Fax: (215) 451-0880, e-mail: info@ASMP.org Web site <www.asmp.org>. Member subscription is $12 per year.
© 2006 ASMP, All rights reserved, ISSN 07445784
SIGNATURE
Page 7
HE YEAR WAS 1953. The ASMP Negotiations
Committee wrote to a member photographer saying, “[We have] received reports from several members that you have been working for LIFE at rates
below Code Minimums. Frankly, we would like your
answer as to whether this is rumor or truth.” In a subsequent letter the committee wrote, “If we stick together we can get $100 a
day from LIFE, but a few backsliders can make it a harder and
longer haul.” At the time, the ASMP enjoyed guild status and
could set prices for its member photographers. Those days are
gone, yet we are haunted by their prophecy.
Today, the ASMP can only tell photographers what we believe is
in their individual best interest. We walk the legal line when we call
for action by members, yet have had little success with doing so.
We have learned that our members are fiercely independent and
apparently lack the desire to act as a group, even when it’s in their
best interest—the Co-Op/Creative Eye is the last best example of
this. Had photographers embraced this model with its ability to set
minimum prices for classes of work, today’s editorial market might
be different. Never able to reach critical mass and thereby ensure
future funding, Creative Eye was fated to become another stock
distributor—albeit owned by photographers—and was denied its
creators’ true vision and potential in the assignment market.
ASMP was founded in 1944 to promote high professional and artistic standards in photography and to further
the professional interests of its membership by disseminating information on a range of subjects and concerns.
ASMP has a membership of more than 5,000 of the world’s finest photographers.
NAME
4:10 PM
LET’S BE
www.asmp.org
The American Society of Media
Photographers, Inc.
President Clem Spalding
First Vice President Judy Herrmann
Second Vice President Todd Joyce
Treasurer Richard Anderson
Secretary John Giammatteo
CALL FOR NOMINATIONS
12/4/06
One time reprint rights are granted to ASMP chapter newsletters. No article may be reprinted (above exception
noted) without written permission from ASMP. Postmaster: please address changes to ASMP Bulletin, 150 North
Second Street, Philadelphia, PA 19106.
Editorial contributions should be sent to: Jill Waterman, PDN, 770 Broadway, 7th Fl, New York, NY 10003-9595.
Phone: (646) 654-5834, Fax: (646) 654-5813, e-mail: waterman@asmp.org. Unsolicited material will not be
acknowledged or returned. All submissions are printed at the discretion of the Society and are subject to editing.
Signed letters and editorial contributions must include a phone number.
tals such as the ASMP’s FindaPhoto <www.asmp.org/findaphoto>
or IPNstock <www.ipnstock.com>.
It’s in your best interests to embrace the following tools to better enhance your abilities to bring your images to market in an
ever-evolving commercial landscape
THE UNIVERSAL PHOTOGRAPHIC
DIGITAL IMAGING GUIDELINES (UPDIG)
These guidelines are principally authored by ASMP member
Richard Anderson, in a cooperative effort with other industry
professionals and endorsed by many professional associations. Of
UPDIG’s primary goals for the standardized handling of digital
images, perhaps one of the most notable is the inclusion of standardized IPTC metadata, which will enable universal search ability and identification of creators and/or copyright holders, as well
as provide usage and contact information. <www.updig.org>
THE PICTURE LICENSING
UNIVERSAL SYSTEM (PLUS)
This cooperative, multi-industry initiative is a three-part system
to clearly define and categorize image usage around the world.
Through standardized language and a machine-readable coding
architecture, PLUS makes image licensing more transparent
and much simpler for everyone, from granting and acquiring
licenses to tracking and managing them well into the future.
<www.useplus.org>
The approach of the new year is a good time to assess your current business practices and evaluate whether they are serving you
well. Take advantage of the tools available to you. The ASMP/It’s
Your Business seminars are prime examples. Blake Discher’s Web
marketing seminar helps photographers optimize their Web sites
and further demonstrates the importance of the Web as a tool to
attract work. Peter Krogh’s “Get Your DAM Stuff Together” seminar promotes the importance of digital asset management. He
wrote the DAM book! <www.asmp.org/education>
We may never attain guild status again, but we can learn from
our past and look to our future for inspiration. We may never be
effective in true collective action, but we can allow our association
leaders to work together on our behalf and frame a unified position to face our future obstacles with greater strength and clarity.
Let’s be smart!
Eugene Mopsik
Executive Director, ASMP
Articles appearing in the ASMP Bulletin reflect the opinions of the writer. They do not necessarily reflect those of
the editors, any officers of the Society, the Board of Directors, or the National Office. The Society does not
assume responsibility for the individual writer’s opinions as expressed in the article.
ASMPBULLETIN
6
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[YEAR
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2006]
NEWSLINE
ASMP Prosurance
Equipment Coverage
Check out the new and interactive
terms & conditions module
on the ASMP Web site.
Visit <www.asmp.org/t&c>
for full details.
Offers New Enhancements
for a Global Market
M
embers with the ASMP Prosurance
policy through Taylor & Taylor’s
Prosurance will be in good hands in the
coming year, as several coverage enhancements take effect when your coverage comes
up for renewal (January 1, 2007 policy effective dates and thereafter). These coverage
enhancements break down as follows:
STUDIO
MIDWEST
OFFERS MULTIPLE NEW
SHOOTING OPTIONS
IN INDIANAPOLIS
© Lesle Tomlin <www.studiomidwest.com>
W
ith two generations of photographers behind her and 13 years in
her own business, food and racing-car specialist Lesle Tomlin is spreading her
wings to open a multipurpose, 7,500 square
foot photography studio on the northeast side
of Indianapolis, just outside the 465 loop.
Studio Midwest was two long years in the
making, from the initial search for an existing building, through construction on an
undeveloped site. The new complex contains
three different studio options, plus a holding
bay, staging room, makeup area, shooting
shower, kitchen facilities and many technology amenities.
Studio One features a 40’ x 24’ “infinity
wall” cyc with ceiling and corner cover, plus a
catwalk for aerial shots. Studio Two is a daylight
studio with a 20’ x 20’ north-facing window
and Studio Three, the “quiet studio“ is sound-
A $35,000 limit will now automatically be
included, which can be used for either rented equipment and/or hired vehicle physical
damage for rental vehicles.
$15,000 reshoot coverage as a result of
camera malfunction, processing errors (both
analog and digital) and bad film stock rendering your current job unusable.
$25,000 coverage for props sets and
wardrobe (with a sublimit of $10,000 for
valuables such as jewelry, furs, antiques, silver and fine art).
$10,000 in extra expense coverage to cover
additional expenses as a direct result of
insured covered property used on the photographic shoot suffering damage from an
insured peril or mechanical breakdown of
cameras or portable generators.
Studio Midwest bucks the prevailing trend for photographers to downsize their studio space. “Tomlin has
made it a friendly and cozy environment,” says ASMP board member John Bragg. “It’s pretty unique.”
dampened for video renters and sound work.
Studios are available from half-day to
month-long rates, and the facility is well situated in the tristate Midwestern region.
Louisville, Kentucky; Dayton and Cincinnati,
Ohio, and Chicago, Illinois are all within a
three-hour reach.
Local ASMP board member John Bragg was
complimentary during a recent visit and is currently in discussion with Tomlin about hosting
an upcoming ASMP event in the space.
To learn more or to inquire about a studio
rental, visit the Studio Midwest Web site at:
<www.studiomidwest.com>. —Jill Waterman
“We’re trying to keep up with how the
industry has changed by offering these new
enhancements,” explains Scott Taylor of Taylor
& Taylor. “The thought process is that as people are going digital they are renting more,
rather than owning all their equipment.”
In the past, the ASMP Prosurance extra
expense coverage was location specific, but
the new enhancements will provide worldwide coverage. Any of the enhanced limits
can be increased on a case-by-case basis to
meet an individual photographer’s needs.
Photographers who require standard certificates of insurance will continue to receive a
significant advantage of the ASMP Prosurance
plan, and will not be charged a service fee to
add clients, locations and equipment vendors
as additional insureds.
Those with questions about coverage or
wishing to investigate the Prosurance plan can
visit the ASMP Web site for details at
<www.asmp.org/membersarea/benefits.php>
or contact Taylor & Taylor representatives
Olga Medina in New York at (212) 490-8511
or Richard Eleuterio in Los Angeles at (310)
826-7200.
—JW
Coalition of Industry Associations Convenes in New York
WHILE WITCHES and goblins were preparing to march in New York
City’s famed Halloween parade, leaders of 19 associations—representing the interests of more than 100,000 photographers, graphic artists,
illustrators and other creative professionals—convened to discuss
pressing business issues at the Society of Illustrators in New York.
This marks the first time such an extensive group of photo business-related trade organizations has ever gathered to coordinate
efforts on behalf of their respective memberships. During the daylong meeting, presentations and discussions focused on crucial
issues such as pending Orphan Works legislation, complications presented by discrepancies between copyright laws within the global
marketplace, difficulties in image tracking and control caused by digital distribution and further support of the Picture Licensing Universal
System (PLUS) an image usage standards code designed to facilitate
proper authorized image licensing.
“The tasks before us are quite formidable and our best hope lies
with smart, committed collaboration,” remarked ASMP president,
Clem Spalding in a thank-you e-mail sent to meeting organizers. “We
may not always be able to agree on the myriad aspects of the challenges we face, but we have already proven we can agree on some
crucial fundamentals,” Spalding added. “Candid, clear and respectful
communications are the key.”
As a result of the day’s dialogue, working committees were established to address issues of Orphan Works and image registries. In addition, an ad hoc coalition was formed to provide ongoing mechanisms
for prompt and efficient interassociation information exchange. —JW
ASMPBULLETIN
8
WINTER 2007 SEMINARS
During winter 2007, two ASMP/It's Your Business seminars will continue their cross-country
tour. For complete program details and dates, online registration and last-minute updates
about Peter Krogh's "Get Your DAM Stuff Together" and Blake Discher's "Web Marketing" visit:
<www.asmp.org/education>
ASMP/Apple Pro Session lectures will also continue in New York, Chicago and San Francisco
during January, February and March 2007. Check the ASMP home page later this winter at
<www.asmp.org> for further details about speakers and dates.
Canons@Foto Care
FNL_YE_06_Newsline.qxd
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COME, SEE,
EXPLORE
9
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drop to illuminate only their faces. The flash is
synced to a slow shutter, during which time
Indermaur light-paints the box and the objects
within it for dramatic effect. A short essay,
written by each individual photographed,
accompanies the finished portraits.
“This project has lit a fire in me that I
haven’t felt since I first started in photography,” explains Indermaur.
Enthusiasm for the project is clearly contagious. Not only have the photographs been
exhibited to positive reviews, Indermaur is now
collaborating with a documentary filmmaker
and a publicist to expand the dimensions for
this work.
Indermaur plans to conduct additional
sessions for Los Angeles and other cities
throughout the United States in 2007. For
further details and to read his project blog,
visit <www.siphotography.com>.
—JW
As past president of ASMP New Jersey for four consecutive years, Bill
Blanchard approached his position with a vision of high standards.
During his presidency, Blanchard helped to significantly grow the
membership by being approachable and by staying in touch.
© Bill Blanchard
waiting to do a project about spirituality for quite some time. Early in 2006,
he began planning a series to express spirituality from a nonliteral perspective, through portraiture focused on an individual’s personal
experience. He commissioned an artist to craft
a box from antique wood and then asked subjects to select objects representative of their
individual spirit to fit inside it.
During the first photo session in his
Lawrence, Kansas, studio, Indermaur photographed 30 subjects. He has since taken this
series on the road and has made more than 60
portraits in Springfield, Missouri, Kansas City
and New York.
Indermaur works with an assistant and a
stylist/makeup artist to ensure his portrait
subjects are pampered, relaxed and looking
their best. Subjects dress in black and are photographed with strobe against a black back-
Page 11
BILL BLANCHARD NEW JERSEY CHAPTER
© Scott Indermaur <www.siphotography.com>
S
4:56 PM
OUTSTANDINGVOLUNTEERS
REVEALED IN A PORTRAIT
COTT INDERMAUR HAS BEEN
12/4/06
“La Paloma—the dove. She is teaching me a
language of love, peace, compassion, grace, imperfection and acceptance. It is a language so powerful,
beautiful and expansive it creates wings in the
expression and cannot be contained in a box.”
Whether his goal was to encourage new membership or coax volunteerism,
Bill Blanchard made it work with his integrity, sense of humor and easy
personality. Image from Blanchard’s series on a decaying Asbury Park,
which was featured in a recent chapter exhibit.
BEST OF ASMP 2007
I
FOR ASMP MEMBERS
WE APPRECIATE YOUR BUSINESS.
Serving the Photo Industry Since 1966
DIGITAL & FILM CAMERAS
LIGHTING - GRIP - PROPS
LAW OFFICES
COPYRIGHT AND RELATED MATTERS
55 West Monroe Street Tel: (312) 977-0121
Chicago, IL 60603
Fax: (312) 977-0733
ROBERT M. CAVALLO
ATTORNEY AT LAW
Tel: 212 753-2224
Fax: 212 753-7113
ASMPBULLETIN
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ALAN KORN
LENS & REPRO
33 WEST 17TH ST
NY NY 10011
212 675 1900
ATTORNEY AT LAW
COPYRIGHT, TRADEMARK, INTELLECTUAL PROPERTY
1840 WOOLSEY STREET
BERKLEY, CALIFORNIA 94703
400 Park Avenue
New York, NY 10022
7KH5LJKW3URGXFWV
7KH5LJKW3ULFHV
7KH5LJKW$WWLWXGH
RENTAL DISCOUNTS
n September 2006, the second annual ASMP Best Of issue featured notable work from 20 photographers selected from our call to members. In preparation for the 2007 edition, we ask you to plan
ahead for the 2007 submission dates by taking a look back through the calendar now. Any memorable project completed within the past year—from client assignments to personal work—will be considered. We will set up a special e-mail address to receive your submissions between March 1 through
May 15, 2007. Stay tuned for further information and specific guidelines in the Winter 2007 issue. It’s
never too early—start considering your submission today.
MARK H. BARINHOLTZ, P.C.
Ellen Denuto, current chapter vice president, describes his efforts.
“Bill took over the presidency cold—he stepped up to the plate and was
ready to volunteer right off the bat,” she explains. “He’s taken on a lot
and has followed things through to the end.”
“Bill grew tremendously in his volunteer role,” echoes chapter board
member and newsletter editor Suzanne Poor. “He’s just very quietly a
big presence. Bill’s sense of humor never fails him in difficult situations,” adds Poor. “And when it comes to doing the right thing, he acts
like a real leader.”
“Bill is a good team leader—he gets people to work together rather
than fight,” agrees board member Dennis Connors, who continues to be
struck by how giving Blanchard is with his time. In addition to currently serving as the chapter’s membership chair, Blanchard recently
started a local mentorship program.
“Bill sent an e-mail and enrolled a handful of people interested in
giving back,” Connors explains. The program currently totals seven
mentors, including Blanchard and Connors, who meet with emerging
photographers on a regular basis. Connors sees his own efforts as a
mentor as a mutually beneficial endeavor. “Which reminds me,” he
adds, “I think Bill gets back what he gives. It’s that karma thing.”
So kudos and thanks, Bill Blanchard, for being a leader and a role
model for all of us to emulate.
—JW
Tel: 510-548-7300
Email: AAKORN@IGC.ORG
Fax: 510-540-4821 Web: WWW.ALANKORN.COM
10
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This article is excerpted from Chapter 12 of Business Basics for the Successful
Commercial Photographer [or, How to Use Your Left Brain, Too], which is available
for purchase in print or as a PDF download from: <www.lulu.com/content/347372>.
© 2006, Leslie Burns-Dell’Acqua
BUSINESS]
REPS, MARKETING ASSISTANTS
AND CONSULTANTS OH MY!
M
arketing sounds like a lot of work–and it is. You just want
to shoot and get paid for it. Most photographers experience such feelings at some point—which often leads to
this thought: Get a rep! My rep will take care of all that stuff, and I’ll
be free to shoot and get paid!
Unfortunately, the rep/photographer relationship isn’t quite that
simple. In fact, a rep may not be the best solution to your needs.
We’ll examine the range of available options here.
although it’s important. Reps won’t work with a talent who doesn’t
understand the importance of deadlines, how to work with a client,
and at least the basics of marketing.
A rep’s reputation is as fragile as your own is, maybe even more
so, therefore it makes good business sense for them to be picky. If
you work with a rep and drop the ball on a project, not only will you
make him or her look bad, you’ll threaten their relationship with
that client (if not others) plus all of his or her talent.
THE PARAMETERS OF A REP
WHERE TO LOOK
All reps build relationships with (potential) clients, but beyond
that, their roles can vary dramatically. Some reps focus only on
client relationships while others develop complete marketing plans,
advertising strategies and much more. Some handle estimating and
invoicing, others simply set the fees for a project and leave the
shooter to do the accounting work. Some also work as producers.
Some reps expect to collect as much as 35 percent of the fees for
their services, yet a more usual fee is closer to 25 percent.
Because each rep has his or her own way of doing business, in
order to find the right match you had better know what you want
first. If you just “want more business,” you need to reevaluate and
be more specific. Review what you do now and make a list of what
works and which areas you think you need help in. Then, make a
separate list of your goals. Finally, make a list of what you expect
from a rep. These lists will help you define your needs and will help
you in your search.
Professional organizations like the Society of Photographers and
Artists Representatives (SPAR) are a good place to start your search.
Art buyers are another good resource. They work with reps regularly
and can tell you who they like and, more important, who they don’t.
You want to impress a rep the same way you would impress a
potential client. Contact potential reps with an intro e-mail or
promo piece and personal note expressing your interest and
inquiring about how they wish to be approached. Don’t be discouraged if you don’t get an immediate response. Reps, if they’re
any good, are busy people—so you must be persistent but understanding. You will not get a rep in a week or two; it could take
months or even years to solidify a relationship.
After you establish interest, get to know that person (or firm).
Like a marriage, this relationship had better be based on trust and
good communication or it will fail. Your rep will often be your
“face” for clients. If you’re not comfortable with the demeanor,
presentation skills or the look of a potential rep, find someone else.
Once you’ve found a good fit, you’ll need a complete understanding of the responsibilities and expectations in order to negotiate roles.
The details need to be defined in a written contract. Although you are
SO YOU REALLY WANT A REP?
OTHER OPTIONS
HIRE A MARKETING ASSISTANT
There are a host of companies that can ease the burden of
miscellaneous marketing tasks:
CONSULTANTS
I don’t think I could explain the roles of a consultant any better
than Judy Herrmann did on the ASMP ProAdvice listserv in April
2006. Here’s a pared-down version of what she wrote:
“A good consultant can evaluate your work, assemble a strong, unified portfolio and marketing campaign, and help you map a plan to
achieve your goals.
If your foremost problem is work that is stale, you need a creative
coach—someone who will get you to shoot better images.
If your work isn’t commercial enough, you might need a consultant
with a strong advertising or commercial art background who can help
you revamp your images to a more viable style.
If the problem isn’t your work, but rather your presentation or marketing materials, consider a consultant with experience in artbuying
and selling rather than the creative development side of the business.”
GET WHAT YOU NEED
“Once you’ve defined where you are and what you’re trying to
achieve,” says Herrmann, “get recommendations from other photographers. Identify consultants who have successful track records, ask
about their backgrounds and weigh how those experiences fit with
your needs.” Once you’ve spoken with prospective consultants,
Herrmann advises, “it’s time to go with your gut.”
“A consultant is someone to whom you bare your heart, soul and
checking account balance. They know more about your business (and
your fears, insecurities, self doubts, and anxieties) than anyone. You
have to have enough trust and confidence in their advice to follow it,
even if it’s something you’ve never attempted or don’t think will work. If
you get the teeniest wiggly feeling in your gut that their main interest is
to sell their services, stroke their own ego, or anything other than to consider your needs and what’s best for you—run.
There are some great consultants out there, as well as a few slime
balls. But mostly there are people who have certain areas of expertise
This triptych, assembled from a large collection of travel-related images captured months and miles apart, was distributed as a direct mail promotion with a few
other composites from the same series. A strong response from recipients resulted in the use of a similar format for mailers featuring other types of work.
ASMPBULLETIN
both approaching the relationship with good intentions, things can
happen to sour it. The contract will protect you both if there are
bumps along the road, or if you need to end the relationship.
If you handle strategy but want someone to take care of the details
like labeling postcards and making calls, a marketing assistant (MA)
is a great option. Unlike a rep, who should be a full partner or even
your “boss” when it comes to your marketing, the MA is often a
part-time employee. One economical option: hire a college student
who can benefit from the experience and at the same time offer you
the fresh ideas of youth.
A talented MA can handle many tasks—phone calls, labeling, database updates, research on potential targets, ideas for new methods and
tools and more—which will free up your time to shoot and schmooze.
This can be a great long-term relationship and it can easily grow into
a full-time studio manager position as your business grows.
© Herrmann + Starke <www.HSstudio.com>
Getting a rep is not unlike targeting a new client; you have to convince
them you are worth the effort. Talent isn’t the only consideration,
12
Wise Elephant <www.wiselephant.com> will design your site,
print promos, e-mail promos, and will even make dreaded
follow-up calls.
ADBASE <www.adbase.com> recently launched a service
to integrate their mailing lists with distribution and tracking
software that streamlines e-mail promotions into one step.
Lost Luggage <www.lostluggage.com> Once known for
designing the outer trappings of print portfolios, Lost
Luggage now also offers other design services.
Using any of these services, or a combination of providers,
will help to get your marketing under control and will also
help to keep you on brand.
and certain areas where they aren’t as strong. Ultimately, you just
want to find the right match—someone knowledgeable and with experience in where you’re coming from, where you want to go and how
you can best get there.”
This is an edited version of the post. The original and complete
post can be found at:
<http://groups.yahoo.com/group/ASMPproAdvice/message/2542>
COST VS. EFFECTIVENESS
For all these choices, the big issue is cost. Is it worth the price?
That’s something you’ll have to determine for yourself. When you
do the math, don’t forget to calculate your time and the exasperation factor. I recently had a client who spent hours each week fixing his Web site. Every time he wanted to add an image, it was a
programming nightmare. He thought he was saving money, but,
between the time he invested, the ineffectiveness of the product,
and his frustration level, “saving” money by not outsourcing the
project cost him thousands.
Leslie Burns-Dell’Acqua is the owner of Burns Auto Parts—
Consultants, which she started after a career on both sides of the photobuying equation. She has written numerous articles and book chapters
on creative business issues and has lectured and taught widely for both
students and professional organizations. As a very active member in
many creative/ creative-business groups and forums, both online and in
the real world, she is known for her accurate information and her
straightforward-but-humorous delivery. She calls it like she sees it and
tries to bring a positive spin to every step of the business.
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S T R AT E G I E S ]
BY ETHAN G. SALWEN
For a complete list of ASMP members who responded to our call for blogs, links to their sites and for
Salwen's detailed Q&A's with selected veteran bloggers, visit the ASMP Web site at <asmp.org/go/blogs>.
GET A BLOG: MARKETING SUCCESS IN THE
sites. Photographers can link a blog to a main site and vice versa,
as well as to other photo galleries.
“I use my blog site as what I call my main landing pad,” says
Wallace. “This is where most people are directed from a search
engine. From there they will get a glimpse of my services and a sense
of my personality. Then they can click onto one of my other sites.”
Wallace’s blog leads the viewer to his polished, highly visual commercial portfolio site, plus his headshot services site and his site for
photo-retouching services, both of which have extensive marketing
copy as well as links back to his blog.
BLOGOSPHERE
PROFESSIONAL PHOTOGRAPHERS EMBRACE BLOGS TO
INCREASE BUSINESS AND EXPAND CREATIVE OUTLETS
THE PERSONAL SOFT SELL
L
International corporate/industrial location photographer Suzanne
Salvo maintains a blog to promote the business she runs with her
husband, Chris. The postings read like informative and witty op-ed
pieces on a wide range of topics—from running a successful photography business to experiences photographing in Iraq to Italian
culinary delights. Excellent writing, quality photography and interesting personal stories combine in a neatly formatted layout that
has relevance for clients, friends and family members alike.
“At first I didn’t see any business benefit from a blog,” says Salvo,
who had been regularly updating the company Web site with new
photos and content. “But blogging is different. It’s fast and quick and
easy. It’s personal and intimate and casual. It’s creatively satisfying
and fun. And to my surprise, our clients love it.” Indeed, more than
75 percent of the Salvos’ blog traffic comes from viewers other than
family and friends, and the content certainly builds a much broader
picture of the sweat and passion the Salvos dedicate to each project.
“Clients feel they are getting an uncensored inside peek into what
our lives are like and who we are,” says Salvo. “It’s a way for them to
get to know us personally. That builds trust. And trust is really what
makes a client choose one photographer over another.”
online blogging applications, anyone with Internet access can
publish any combination of text and photographs for a worldwide
audience. These customizable, dynamic, journal-style logs often
focus on the blogger’s personal experiences. However, blogs can
also be used to promote business, directly and indirectly. And
“hidden” blogs can be used to power a whole new type of Web site
particularly well-suited to photographers seeking to regularly
update content.
By their nature, blogs are very personal. And the key to successfully marketing with blogs is to share engaging and relevant personal information with both established clients, future business
prospects, as well as friends and family. The best blogs come across
as casual and relaxed, yet it can take a lot of thought for them to
appear that way. It also takes careful consideration—with clear
marketing goals and sound blog-building strategies in mind—to
ensure that blogging does not become a waste of time or, worse, a
liability to a photographer’s business image. Luckily, blogging
strategies and concepts are easy to grasp, and there are many ways
to successfully incorporate blogging into an overall marketing strategy with little effort and clear returns.
as Vegas–based portrait photographer Wayne Wallace only
opened his studio a few months ago, but his client list is
steadily increasing every week. He attributes much of his success directly to his focused, blog-based marketing efforts. “I get 99
percent of my business through the Web,” says Wallace. “And most
of my Web traffic originates on my blog site.” Not everyone can
benefit so directly from blogging. Yet professional photographers—
with brilliant imagery at their fingertips—are in a unique position
to take advantage of the marketing potential of blogs.
BLOGGING FOR SUCCESS
Fuse the words “Web” and “log” and you get “blog,” the latest phenomenon to sweep the Web. Using incredibly simple (often free)
THE HIDDEN BLOG
© Wayne Wallace <www.waynewallace.com >
THE WEB OF WEB SITES
Wayne Wallace’s blog site is his “main landing pad,” which gives visitors
a glimpse of his services and a sense of his personality. New blog content
can be added in minutes without disturbing the look of a highly polished
Web site, and is a good option to promote a dynamic Web presence.
Portand, Oregon–based commercial photographer Andy Batt has a
more subtle way of using a blog in his marketing efforts. “This is
really a ‘hidden blog,’” says Batt. “I am using a blogging application
to post images on my main site and to post small, casual comments
about them, but viewers are not really aware they are in a blog.” In
this way, blogs can essentially serve as the engines that power a
whole new kind of innovative Web site only now beginning to
emerge online. For example, Batt’s blog includes comment functionality so that viewers can post feedback next to each image.
However, if Batt decides he no longer wants this feature, he can turn
it off in just a couple minutes.
Batt needed to employ a Web designer to build the blog into his
site, but the technology powering the blog made integration easy
to accomplish. However, as with any good marketing effort, Batt
made sure to make alterations to his site in a very focused manner. “The idea was to use blog technology to deliver fresh images
and ideas to anyone viewing my site,” says Batt. “I’m a minimalist
“I have created a web of Web sites on the Internet, linking them
together with my blog,” Wallace explains. “This was at the heart of
my marketing plan when I moved to Las Vegas last year.” With both
extensive marketing skills and a 20-year career as a computer
“techie” to guide him in his plans to refocus his career on photography, a dynamic Web presence seemed only natural to Wallace. It
also matched the personality profile of his target client: young,
Web-savvy and fun to work with.
“Multiple sites can make a photographer’s presence on the
Web more dynamic,” Wallace explains. Blogs lend themselves to
this very naturally, increasing the interactive nature of the Web.
Unlike static Web sites that must be designed all at once, blogs
can grow more organically, starting with one simple posting and
expanding from there. Each new posting can be added in minutes
without disturbing the rest of the site. Hyperlinks can direct the
viewer to different postings on the blog, as well as to outside Web
ASMPBULLETIN
14
“It took a few days to fall into the rhythms of street shooting in NYC. At
first you feel obvious, like you’re in tourist mode, and the world around
you senses that vibe and responds to it. After a few days, you move past
that into a quiet confident mode. You feel like you’ve blended in a bit
more, and the world responds by letting you take its picture.”
Read more from Andy’s blog at: <www.andybatt.com>.
about this blog, because I wanted to use it to serve a simple idea,
and also because I wanted to do something that I could see myself
keeping up on for a long period of time.”
THE EVENT-SPECIFIC BLOG
Many photographers have found excellent marketing benefits in
creating blogs to publish stories and images relating to specific
events, whether professional assignments or personal projects.
These blogs differ from most in that they are limited to a specific
time period. “Even though the Russian Chronicles 2005 is over, I
continue to use the blog to successfully promote my career,” says
New York–based photojournalist David Hillegas. This blog, hosted
by the Washington Post, chronicles Hillegas’s 11-week trip across
Russia with writer Lisa Dickey.
“Lisa had made the same trip in 1995 with photographer Gary
Matoso,” explains Hillegas. That first trip was actually undertaken by
Matoso to help pioneer and promote real-time electronic image publishing. That resulting online journal (which was made before the
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term “blog” was coined) is still online today, and clearly illustrates
how a well-executed blog can retain value even after the updates end.
Hillegas’s main Web site is clean, sharp and full of striking
images, but it includes little promotional copy. The Russian
Chronicles 2005 blog offers insight into the kinds of professional
undertakings of which Hillegas is capable. “I don’t think blogging
should be thought of as a means to an end in terms of marketing,”
the photographer says. “It is just another tool in a marketing strategy. The most critical thing is to make yourself and your work as
visible as possible. A blog is a cheap and lasting way of doing that.”
Beyond marketing advantages, event-specific blogs clearly offer
inspiration to photographers by giving them an exciting publishing outlet. “Working on this blog every day for more than two
months gave me tremendous confidence and helped my define my
creative style,” says Hillegas.
[BOOK
Know why. The most important factor for succeeding with
your blogging efforts is to know exactly why you are doing it, both
before you start and as your goals shift over time.
REACHING CLIMAX
A
fter Passing Gas, it’s hard to believe Gary
Gladstone could follow up with an
equally entertaining venture. But the 40-year
commercial photography veteran has succeeded with Reaching Climax, a documentary
account of 55 small, offbeat American towns
with the most unusual names.
The towns—such as Erect, North Carolina,
Sugartit, Kentucky, and Idiotville, Oregon—
and accompanying portraits of residents who
inhabit them, are not only quirky, but laughout-loud funny.
“I wanted to make photographs not for
clients, but for myself,” Gladstone writes of
his original idea for the series. “So I took to
the road with an idea and a dream: I’d visit
oddly named towns, meet some of the people
who lived there, and make a portrait.”
Gladstone used his trusty Nikon film
cameras, eschewing the fussiness of digital
equipment. He traveled in a white Toyota
RAV4 named True Grits and was accompa-
Do it well. If you are going to blog, make sure you do it well, as
your blog will influence how clients see you. Your blog can be casual and you can use this venue to present a different side of your professional identity. However, keep marketing-oriented blogs more
“business casual” than “beachwear.”
STRATEGIES FOR SUCCESSFUL BLOGGING
Have fun. Enjoyment of your blog experience is no small matter. If you don’t enjoy blogging you won’t do it, and your blog could
turn into a liability. If you do enjoy blogging you will look forward
to posting entries as a break from other responsibilities. In less than
two hours a week you can easily publish new work, express ideas
and share stories with a wide readership, all while inexpensively and
effectively marketing your services and talents.
Wallace, Salvo, Batt and Hillegas, plus a number of other ASMP
members interviewed on this topic, all agree on the following essential points for blogging success:
Based in Buenos Aires, Argentina, Ethan G. Salwen is a photographer
and writer who is now totally enthralled by the possibilities of blogs.
EASY WAYS TO CREATE
POWERFUL BLOGS
Plan your blog before you begin. Blogs are incredibly
easy to start and maintain. And one of the joys of blogging is the pleasure of finding one’s blogging voice over
time. However, unlike those blogging for fun, professionals need to plan carefully to ensure their blogs serve marketing initiatives.
Review a wide range of blogs over at least a couple
weeks. What draws you in? What turns you off? By the time
you have digested a few dozen blogs, you will have a
much better sense of what you want to emulate.
Write a short planning document that outlines marketing objectives, audience, editorial focus, intended content
and publishing schedule. This simple document will greatly focus your blogging efforts.
Add new content regularly. There is nothing worse in
the blogosphere than encountering a dead blog. Before
you begin you must be committed to adding content on a
regular basis. Pace yourself. Don’t start out too fast and
then fall off. Take it easy and be consistent.
Add text. Ironically, professional photographers are possibly the last people who should start photologs—blog
postings with images only. Photographers already have
main Web sites with image galleries to serve that purpose.
More important, quality writing is essential in a blog geared
to market a photographer’s services. At the same time, you
should be very realistic about your own writing skills. If you
are a weak writer, limit your writing to a few sentences that
describe your images or photographic process.
nied by two different assistants, and sometimes even a TV film crew, during his
40,000-mile odyssey.
One of the most ironic portraits is of J. T.
“Buck” Hatley, a retired construction worker
giving a four-fingered wave in Finger, North
Carolina (he lost his pinky in a mower accident). In Hustler, Wisconsin, caterer Bonnie
Barnharst strategically holds two bowling
balls to cover her chest. And in Pigs Ear,
Pennsylvania—a fabled roadhouse stop now
absorbed into woodland trails of the
Allegheny National Forest—meat business
owner Robert Wagner cradles his racing helmet for a picture next to his four-wheeler.
Not only does Gladstone’s account of
these towns provide photojournalism and
engage comic relief, it also gives readers a
taste of a small-town America they may not
otherwise get to experience. Reaching Climax
is worth the journey.
—Jessica Gordon
Reaching Climax
And Other Towns Along the American Highway:
More Portraits from the Heartland
by Gary Gladstone
Ten Speed Press, October 2006
137 pages, 144 color photographs
Paperback, $19.95 US, ISBN: 978-1-58008-710-0
<www.gladstone.com/climax/index.html>
HEROINES & HEROES
A
Keep your target audience in mind. As you are blogging, ask yourself, “For whom am I posting this picture
and/or writing this text?” Keeping your most critical
clients in mind will ensure that the imagery and text you
post—even on personal topics—represent you in the best
professional light.
Get personal, but not too personal. Your blog offers
clients a chance to learn more about you than they could
from your main Web site or almost any other online source.
So blog with sincerity, and feel free to share personal musings. At the same time, think “business casual” and not
“nudist colony.” You don’t want to turn anyone off.
Promote your blog. Send an e-mail announcement to
interested clients when you post particularly interesting
new content. You should also add a link to your blog from
your main Web site, as well as to your e-mail signature and
your business card.
Heroines & Heroes: Hope, HIV and Africa
Photographs by Steve Simon with text by
Simon, Stephen Lewis, Joseph Tseea and
Jean Margaritis Otto
Edizioni Charta, October 2006
104 pages, 98 images, $35.00 US
ISBN: 88-8158-610-X
<www.stevesimonphoto.com>
Seek feedback. A number of free tracking applications
allow you to monitor traffic to your blog. However, for the
most helpful input talk to your readers about their experiences. Talking about your blog will also generate more
interest and will give you ideas for postings.
ASMPBULLETIN
LOOK]
16
quarter century after
the disease first made
its entrance onto the world
stage, medical advancements have relegated HIV
and AIDS to a serious yet
manageable condition for
certain populations. The
outlook in developing
nations, on the other hand,
is grim. Poverty and cultural taboos have conspired to create a pandemic with dire statistics that
make it nearly impossible to fathom the disease’s impact, particularly in Africa.
With Heroes & Heroines: Hope, HIV and
Africa, documentary photographer Steve
Simon strives to impart an understanding of
the everyday realities of individuals, families,
communities and even nations whose existence are threatened by HIV and AIDS.
Among the many facets of this book are
texts about Simon’s experience in photoASMPBULLETIN
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17
graphing the continent, plus commentary by
individuals leading the fight on the ground
and beyond. An extensive call to action section in the back lists organizations readers
can support with contributions and volunteer efforts. Royalties from the book will be
donated to these charities.
“Millions of lives are at stake,” says Simon,
“and the fine people I have met while working on this book, many of whom are suffering a life of extreme poverty, are some of the
brightest, wisest, funniest and most inspiring
people I have ever known. They are the people you love in your own lives. They should
not be ignored.”
Simon’s photography makes ignoring
both the people and the wider issue impossible to do. The most devastating images show
overflowing morgues. Such scenes, presented
together with bustling cityscapes, intimate
portraits of victims and volunteers, workers
and family members who support them and
educate the public, impart the full story.
—AB
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BY AMY BLANKSTEIN
SPECIAL SERIES: THE ART OF THE ESTIMATE
the opportunity to discuss the project with the creative decision maker,
you need to hedge your bets.
SMILE
An estimate must also include creative and usage fees, If a client is paying big dollars for a branding campaign or a high-profile editorial
spread, they need a photographer who can be creative, consistently get
great shots and deliver them yesterday. The creative fee should be based
on the value of your experience, vision and the client’s confidence in
your expertise. Yet getting a client to understand the creative fee can
require additional creativity on your part.
During a recent meeting with a manufacturing client, Joyce wasn’t
thrilled when a plant manager questioned the marketing director on
the need for a professional photographer on the project. “This guy
said, ‘Doesn’t someone at the other facility have a digital camera?’ I
couldn’t believe it!” recalls Joyce. “But it’s hard for people to understand what we do. You have to put it into a context they understand. I
made the analogy that if you have a typewriter at home, it doesn’t
make you a writer; it just means that you have the tools to write. The
plant manager got it immediately.”
When it comes to presenting your licensing terms—be as specific in
your language as possible. This is particularly important given the prevailing trend for clients to ask for unlimited rights and, in some cases,
to own the copyright for images.
Sease says she is constantly surprised by the lack of care photographers take with estimating terminology. “So many photographers get
themselves in trouble by not being clear,” she says. “They just let go of
their rights.”
WHEN YOU SAY THAT
UNDERSTANDING YOUR BUSINESS NEEDS—AND THOSE OF
YOUR CLIENT—MAKES A WORLD OF DIFFERENCE
In the first installment of our series “The Art of the Estimate,” we
covered the basics of handling calls from potential clients. In this
issue, seasoned ASMP members discuss the best practices in
preparing an estimate.
The Business of Photography
According to Los Angeles–based photographer Jeff Sedlik, market
forces pose many obstacles, but photographers need to honestly examine the role they play when their business is in the red.
“We don’t understand the value of our images in the marketplace,”
said Sedlik, who is also the president and CEO of the Picture Licensing
Universal System (PLUS). “We don’t even understand the basics of our
own business.”
During a November 2006 estimating seminar at the PhotoPlus Expo
in New York, Sedlik tried to set the record straight. “Are we in the business of making photographs? No. That’s our art form. Are we in the
business of selling photographs? No. Are we in the business of selling
the time it takes to make a photograph? No. Photographers are in the
business of licensing the copyright in their photographs.”
Understanding your expenses, the value of what your experience
brings to the client and the value of the copyright inherent in your
work—and protecting it—is extremely important. An estimate that
accurately reflects these factors is the first opportunity to express your
value and your professionalism to your client.
Expenses
Expenses should always be separated from creative and usage fees. It’s a
useful way to emphasize to your client (and to yourself) that the costs
associated with producing a job are just one aspect of the total cost of
the services you provide. A succinct, accurate and comprehensive estimate speaks volumes about your ability to handle a job, explains
Richmond, Virginia–based creative consultant Suzanne Sease.
Some photographers assume that if it’s not covered in the estimate,
they can get reimbursed for unforeseen costs after the fact. This may be
the case, especially if you clarify that you’re presenting an estimate,
rather than a bid. Not all photographers recognize a difference between
the two terms, but according to the definition by the PLUS consortium,
an estimate is a best-effort approximation of fees and costs, expected to
be reasonably accurate but not necessarily precise. If you present your
client with a bid, and your actual costs exceed those listed, you may not
add to the bill, unless the client approves the additional charges. If actual costs are lower, however, your client remains obligated to pay the
entire approved bid amount.
Estimate or bid, photographers absolutely need to be realistic about
their bottom line. Even if your numbers come in higher than competitors, it doesn’t follow that you won’t get the assignment.
Sease cites the example of one photographer whose estimate was significantly higher than those of his competitors. He had an elaborate and
expensive plan for the shoot while the other photographers planned to
address composition issues in post-production. Sease, an experienced
art buyer at the time, recognized that post-production costs were not
accurately accounted for in the other estimates. “It was a far more
expensive [solution], but I knew that he had covered all his bases. What’s
more, I knew he wouldn’t be coming back for more money.”
Factors that should be considered when pricing for usage are:
(terms adapted from the PLUS Consortium glossary at <www.useplus.org>)
Media: The particular means of mass communication included in a
given license, such as print, broadcast and online use.
Placement: The positioning and location of an image within a publi-
A bunker mentality won't give you an edge at the negotiating table. The
more you learn about your clients' needs, says Todd Joyce, the better
your outcome will be.
Industry: The primary business area or segment of a product or serv-
ice being sold, promoted or produced.
Exclusivity: Describes a right that, when granted by a licensor to a
licensee, limits how the licensor (and other parties offering licenses of
the work) may license rights in a work to a third party.
cation that marks or enhances content.
Size: The size an image will appear in relation to the rest of the layout
Getting the Right Information
or page.
In order to prepare a comprehensive estimate, it’s vital to ask as many
questions as possible. “I’m amazed at how many photographers are
afraid to ask questions,” says ASMP board member Todd Joyce. “Am I
bidding against anyone? Do you have a budget? What’s the usage?”
Photographers understand that clients have legitimate reasons—
both creative and fiscal—to explore their options before they assign a
photographer to a project. It’s galling for photographers, however, to
devote time and energy to an estimate when the client’s only concern
is penny-pinching or when they are merely seeking additional numbers to justify a favorite. Over time, successful photographers develop
the experience to spot such situations—and cut their losses—early in
the process.
An art buyer or creative director might not know all the details, but
if they insist on getting numbers without offering any information or
ASMPBULLETIN
© Todd Joyce <www.joycephotography.com>
Creative & Usage Fees
Quantity: The number or amount of reproductions made, displayed or
distributed, i.e. circulation.
Frequency: Number of appearances or insertions of an image within a
given timeframe.
Language: Each separate language should be named in a contract or
agreement.
Territory: Area of land, district or region where a work will be distributed or broadcast.
Duration: Stated in days, weeks, months or years, the period during
which a license is active. The end date of a license is defined by the
duration and start date.
18
Exclusivity and Unlimited Use
It’s in the photographer’s best interest to be as specific about the
parameters of usage as possible and to be wary about giving away his
or her copyright. Grant too broad a usage and you give away potential
income—unless the usage is correctly valued.
As long as you’ve carefully crafted the language in the estimate, greater
usage should translate into more money. Exclusivity? Unlimited usage?
No problem, just as long as your client can cover the greater cost.
Your client, on the other hand, might find that those options don’t
fit their budget. It’s up to you to educate them about how your business
works, and at the same time, to help them come up with a solution that
works for their business. Keep your negotiations non-adversarial and
your client will value you even more.
Not sure what to say? Go to <www.asmp.org> to post a question for
your colleagues on the ASMP ProAdvice listserv or check out the business and legal resource sections for more information.
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TOOLBOX]
B Y E D D I E TA P P
Photoshop Workflow Setups by Eddie Tapp
ISBN: 0-596-10168-6
Copyright © 2006, Eddie Tapp. All rights reserved.
Used with permission from the publisher. Available from booksellers or direct
from O’Reilly Media <www.oreilly.com>
WORKING IN BRIDGE
<http://www.oreilly.com/catalog/photoworkflow/?CMP=PAC-QU3416788047>
Enter discount code D6ASMP for 35 percent off this title until January 15.
EXPERT TIPS FOR WORKFLOW AND FILE-MANAGEMENT SOLUTIONS
GENERAL PREFERENCES
W
orkflow has become even more productive with the release of Adobe Bridge, which
First, select General. In the Thumbnails section, you can set the background color using the slider. When checked, Show Tooltips will display tips and other information when your cursor is hovering over a
tool, thumbnail and so on.
“Additional Lines of Thumbnail Metadata” allows you to show file
information in the Light Table along with the thumbnail. Select Show,
and then select the desired metadata from the pull-down menu.
Select the Favorite Items that you want to appear in the Favorites
panel. “Reveal Scripts in Finder” opens the folder that contains scripts,
and Reset All Warning Dialogs resets Bridge warning notices to their
default settings.
loads as a separate application within Photoshop CS2. It is now possible to perform
a host of processing, editing and file-management functions directly in Bridge with-
out ever opening files in Photoshop. A wide variety of commands and options are available, even
the ability to create presentations.
Bridge allows you to manage images and files between all Adobe
applications. But it doesn’t stop there. You can access any file application from Bridge, whether it is Microsoft Word, Extensis Portfolio,
or even QuickTime.
For instance, you can view individual PDF pages right from the
Bridge in the Preview panel. Once you select a PDF, at the bottom of
the Preview window panel, you can page through the entire document, and open a PDF page in Photoshop or in Acrobat. Bridge even
allows you to play movie files from the Preview panel too.
You can access Bridge from Photoshop using the Option bar’s
Bridge icon.
Bridge is broken down into a variety of window panels, containing editing and processing options that allow you to customize and
manage your workflow and speed up production like never before.
You can open as many Bridge windows as you like. By selecting
File > New Window, the Bridge will display a new window for the
current directory. You can then navigate to another file folder and
have instant access to a variety of folders, with as many Bridge windows open as your workflow requires.
You can view your Bridge window in three different modes: Full,
Compact and Ultra-Compact. By selecting the upper-right-hand
icon in the Bridge window, you can “Switch to Compact Mode.” This
will create a compact view of your Bridge window, which will “Float”
in front of any other application windows you open. This is especially helpful when you need quick access to files in other applications. I
used the Compact and Ultra-Compact modes to write Photoshop
Workflow Setups using Adobe InDesign. When I needed to place an
image or screenshot, I expanded the Ultra-Compact mode and
dragged the image directly into the InDesign layout.
SETTING BRIDGE PREFERENCES
Perhaps the first thing to do in Bridge is establish your working preferences, much like you would in Photoshop. Here are some features
that were unavailable until Bridge came along in CS2.
From the Bridge menu bar, access the preferences under Bridge >
Preferences (Mac) or Edit > Preferences (Windows). This will bring
up the Preferences dialog box, where you can establish your workflow preference settings.
METADATA PREFERENCES
Select one or more images from Bridge and access the Metadata
Preference in the menu File > File Info. Your name and contact information can be entered in the IPTC Contact, IPTC Content, IPTC
Image or IPTC Status fields of the Metadata preference dialog box.
Save this data by selecting Save Metadata Template from the submenu. Name your template and then select Save and OK.
When you select one or more images in Bridge, you can then view
the Metadata panel’s sub-menu, by selecting the arrow on the right
side. Select Append Metadata, and then select your saved template. All
of your IPTC data will instantly become a part of your file’s metadata. You can also append the metadata from the Bridge menu (Tools >
Append Metadata). Some of the data you can append includes information about Camera Data (Exif), GPS Data, Edit History, Adobe
Stock Photo and Version Cue information.
LABELS PREFERENCES
One helpful feature in Bridge is the ability to assign color labels. In the
Labels Preferences, highlight the name field and type in a specific label
for your workflow needs.
The option “Require the Command Key to Apply Labels and
Ratings” (Mac; Control key for Windows) allows you to use the
Command or Control key plus the numbers 6–9 to assign a color
label to selected thumbnails in Bridge. You can also assign a label
from Bridge’s Label menu.
© Eddie Tapp <www.eddietapp.com>
BRIDGE PANELS AND FEATURES
KEYWORDS PANEL
This allows you to organize images by assigning keywords. Create
your own custom keywords and keyword sets by selecting the icons at
the bottom of the Keyword window, or select an existing keyword/set
and delete it. Select one or more images and click in the box next to
This article is excerpted from Chapter 5 “Working in Bridge” of Eddie
Tapp’s book Photoshop Workflow Setups, published by O’Reilly Media:
<www.oreilly.com>. To view additional diagrams, download the full chapter
as a PDF and to purchase a copy of the book via the ASMP Web
site please visit <www.asmp.org/go/setups>.
ASMPBULLETIN
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the keyword(s) you wish to assign to the file(s).
Select the Metadata option and check or uncheck the metadata
types that you want to appear in the Metadata panel. The Hide Empty
Fields checkbox helps to minimize the size of the Metadata panel by
not displaying fields for unchecked items.
WORKFLOW AUTOMATIONS AND ACTIONS
You can batch rename, batch process, and select many working
options for Photoshop directly from Bridge. These workflow automations and actions let you speed up file management and processing.
With one or more images selected, from the Bridge menu, you can
automate an entire spectrum of options in Bridge, Photoshop,
Illustrator, or InDesign. In the Tools menu, options include a powerful batch renaming function, Version Cue controls, and many
Photoshop Services, through access to the Internet. You also have
direct access to tools in Photoshop, Illustrator, and InDesign, as well
as the ability to manage your cache settings for folders and files, and
easily replace or append metadata to your files.
With the Batch Rename command, you can “Rename in same folder,”
“Move to other folder,” or “Copy to other folder.” In the New Filenames
area, you can add text to or remove text from file naming conventions
using the various options shown, including sequence numbering (which
will start with the number you type in the Sequence Number field). Use
the plus-sign button to add additional naming conventions.
Because Adobe Bridge is an independent application, you can select
images and then assign Photoshop to perform certain tasks directly
from Bridge: use the menu Tools > Photoshop and select the
Photoshop function you need. This includes batch processing a
Photoshop action, creating contact sheets, using the built-in Image
Processor, using the Merge to HDR (High Dynamic Range) 32-bit
image-processing options, creating panoramas using Photomerge, and
using Picture Package and Web Photo Gallery. By selecting any of these
options, you’ll be transferred to Photoshop to complete the action.
RATING AND LABELING
In the Label menu, you can see the keyboard shortcuts for adding stars
and labels: Command key (Mac) or Control key (Windows), plus the
numbers 0–9.
By accessing the Bridge Preferences as mentioned in “Setting Bridge
Preferences” earlier in this chapter, you can name the color labels to
suit your particular workflow.
From the upper-right-hand corner in the Bridge window, you can
select the Unfiltered button and then select which rated files you want
to show in the Bridge window.
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CAUSE
A
E AND
EFFECT
© Doug Landreth <www.landrethstudios.com>
DIGITALLY ENHANCED ENVIRONMENTAL PORTRAITS
© Kelly Gorham <www.gorhamphotography.com>
© Chris Crisman <www.crismanphoto.com>
© Patricia Barry Levy <www.patriciabarrylevy.com>
© Bill Bernstein <www.billbernstein.com>
Top left: Patricia Barry Levy, 2005. BookWings. Digital composite made from
five different elements, created for photo illustration portfolio.
© John Fulton <www.johnfultonphotography.com>
Above: Bill Bernstein, 2006. Editorial portrait of Dr. Michael Dey. After the
subject was captured en-route to the shoot location, Bernstein digitally
adjusted levels in post-production to enhance the atmosphere of the shot.
Left: Chris Crisman, 2006. Richard Crisman, from the Steelworkers series.
The portrait subject was lit and captured on location at night, then Crisman
moved lights through the woods to illuminate the background in sections.
Six layers of image elements were composited in Photoshop.
W
hile the traditional form of the
environmental portrait emphasizes honest, unmanipulated
records of subjects in their environments, the
versatility of digital greatly expands the
boundaries for this style of work. The images
in this portfolio all share the fact that digital
enhancement is central to their success, yet
they vary widely in the range and level of
treatments and techniques applied. From
straightforward tonal shifts or level adjustments to complex compositing of multiple
picture elements, the horizon afforded image
makers today is now virtually limitless. Yet a
ASMPBULLETIN
key issue remains the photographer’s vision
for what they wish to communicate. With
more tools to work with, it becomes more
important than ever to carefully pre-visualize
each step in the process, from planning image
capture to post-production work.
—JW
22
Top: Doug Landreth, 2006. From the Hong Kong Portrait series.
A digital capture of a Chinese peasant was composited with a lush
landscape to create a fantasy environment inspired by Asian art.
Above: Kelly Gorham, 2005. Wildland firefighter Heather McEvoy
in burned landscape of the Flathead National Forest. Gorham previsualized the scene as a monochrome image to best represent
what he saw on-site, then converted to sepia in post.
Left: John Fulton, 2006. Pilot and Plane. Digital composite made
from outtakes of a pro bono fire department fund-raising calendar
project. Fulton used five frames, both digital and analog captures,
to create this scene of a pilot in a windswept desert.
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BY VICTOR S. PERLMAN
PARTINGSHOT
MOMENTARY CALM IN THE EYE OF THE
ORPHAN WORKS STORM
T
ASMPBULLETIN
MARION
WARREN’S
CLASSIC
VISION OF THE
CHESAPEAKE
ENDURES IN
DIGITAL PRINTS
© David Hillegas <www.davidhillegas.com>
he main, and almost sole, focus of the
ASMP’s legal activities this year can be
summarized in two words: Orphan
Works. As you probably know by now, the
sponsor of the Orphan Works legislation, Rep.
Lamar Smith R-Tex. withdrew one of the two
Orphan Works bills (HR 6052) from consideration
by the House Judiciary Committee at the end of
September. The other Orphan Works bill (HR 5439)
is dormant in that committee’s Subcommittee on
Intellectual Property. It is highly unlikely that there
will be any further action on either bill during
this Congress. However, following the elections,
Congress returned in November for a lame duck session, and it would not be impossible for an Orphan
Works provision to be dropped into unrelated legislation, such as an appropriations bill, at the last
minute. We will watch carefully for that possibility.
Image from David Hillegas’s coverage for the Washington Post’s “Russian Chronicles” blog
The ASMP considers it much more likely that
project <http://blogs.washingtonpost.com/russianchronicles>. For more about this project
there will be no further action on the subject of
and what blogs can offer, turn to page 14 and visit <www.asmp.org/go/blogs>.
Orphan Works until the next Congress convenes
next year. Now that elections are over, we know that Rep. Smith will not
of whether Google’s display of images from Perfect 10’s Web site
chair either the House Judiciary Committee or the Subcommittee on
through Google’s image search function is a violation of Perfect 10’s
Intellectual Property. It remains to be seen who will chair those bodies
copyrights. The district court ruled that the display of thumbnails was
and how receptive they will be to our concerns. In any event, we are faira violation, but that the display of full-size images was not, which is
ly certain that at least one Orphan Works bill will be introduced and we
basically the opposite of what the Ninth Circuit had ruled in Les
expect that to happen early in the next Congress.
Kelly’s suit against Arriba Soft (later called Ditto.com) before it withWe plan to deal with this possibility simultaneously on several fronts.
drew its decision. The district court’s ruling on the full-size displays
We will continue to work with other trade associations, industry reprewas based on a convoluted and unique test of whether the images ever
sentatives and coalitions in our own and similarly threatened industries
resided on Google’s server.
to drum up support for our particular version of the Orphan Works legAt press time, oral arguments were scheduled for mid-November
islation. In addition, the ASMP staff will continue to work with techand we are waiting for the Court to rule.
nology companies to develop solutions that will minimize the impact of
Another area of our legislative activity involved federal income tax
even unfavorable Orphan Works legislation.
law. As in the past few years, possible legislation that would allow phoThings are currently quiet, but this is merely the eye of the hurritographers to take tax deductions for the fair market value of photocane. While Smith’s withdrawal of the bill was a victory for us and
graphs they donate to charities showed some signs of life during this
bought us more time, you should not assume that the Orphan Works
Congress. Currently, your tax deductions for such contributions are
issue will go away.
limited to the actual, out-of-pocket costs of making the photographs;
While Orphan Works have been the target of most of our legal efforts,
the sales value of the image and the value of your time are not includthey have not been our sole area of activity, by any means. We recently
ed. Check carefully with your tax advisor before you claim deductions
filed an amicus curiae brief on behalf of online nude model magazine
for donated work, since this is an area where some misinformation
Perfect 10 in the appeal before the Ninth Circuit in Perfect 10 v. Google.
exists. Sadly, the legislation proposed this year appears to be dead, so we
will have to try again in 2007.
As first mentioned in the Fall 2006 issue, this case involves the issue
T
he author of Bringing Back the Bay
and other regional classics, Marion
Warren chronicled life along the
Chesapeake for more than fifty years. His
archive, which includes thousands of custom-made prints, resides in the Maryland
State Archives at Annapolis.
In 2002, damage to Warren’s most popular negative prompted him to seek an
alternative process for printing his work.
Photographer and media expert Richard
Olsenius used digital technology to
restore Warren’s negative in all its subtlety
and detail.
In failing health and no longer able to
print his own work, Warren worked closely with Olsenius and a business partner to
plan and approve digital prints from many
of the originals in his archive. This fall,
less than a week after his passing on
September 8, 2006, an exhibition Warren
had proofed from his hospital bed opened
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© Marion Warren
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at the Maryland Hall for the Creative Arts.
A permanent gallery of Warren’s work
is on view six days a week (Tuesday to
Sunday) at 14 State Circle in Annapolis.
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His photographs, annotated with lively
captions, can also be enjoyed on his Web
site at <www.marionwarren.com>.
— JW