Looking Forward After 25 Years by Beryl Striewski

ASMP is now officially 60 years old, and the Houston chapter is 25.
We've seen a lot of changes in our field in these years, and with stock photography gaining a sizeable market share, with the ever increasing gobbling up of small companies by the large and a general malaise in the economy, commercial photographers will certainly question their commitment to the field.

ASMP may be more important than ever before. Our national organization and our chapter recognize the difficulties that commercial photographers grapple with in this ever evolving market. Our expanded Chapter Board has identified many ways to better serve our membership as well as the larger photographic community. We will strive to bring more educational programs to the membership and photographers. We will begin to lay the foundation for commercial photography to have a more significant presence in Fotofest. We are researching the possibilities of expanding our newsletter. And perhaps most importantly, we are firmly committed to the cultivation of friendship and of mutual understanding among photographers.

I'm excited about the next few years for the chapter.

So, why should you remain a member of ASMP? Because, where else do you find people of like minds that strive for excellence to share your successes or failures? Where else could you find programs specifically designed for your educational and professional development? And what other organization of photographic professionals has the high credibility associated with it as ASMP does?

I look forward to serving as President, and I hope that you will join us in making for a vital and lively organization.

-- Beryl

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Random Thoughts by Rocky Kneten

Greetings:
This is the "leftover" edition of the President's Letter. These are the little tidbits that I observe and the miscellaneous collection of "things that get under my skin" that don't merit an entire article...yet. If you have something that bugs you, send it on to me and we'll have a "I'm-mad-as-hell-and-I-won't-take-it-anymore" future edition of the letter.

Let's begin.
For the first six months of 2003, Getty Images revenues rose 14% to $258 million, and net income totaled $26.4 million, up from $7.2 million. Ironically, it may be more prudent financially for many photographers to own Getty stock than to provide content for them.

Speaking of Getty (and Corbis, AP, and the like), I find it curious that photographers - the most fiercely independent small business people, proud of their unique work - allow these companies to omit their names in credit lines and substitute the company brand. The credit line is part of the trade-off for lower fees in editorial - you get some exposure as part of the deal. Apparently, not any more.

Condensed from an EP post: A photographer was having a conversation with an agency Creative Director. The CD mentioned that the agency used royalty-free images now and never assigned lifestyle images anymore. The CD couldn't believe "how stupid photographers were" (to sell images as R-F).

Working for non-profit groups: Remember that the organization may be not-for-profit, but that doesn't mean that you, Joe Photographer, has to work without profit. Some not-for-profit groups are not chartered for charitable causes. Many of these groups have budgets - even lavish ones - for promotions and fund raising. The printer and designer may very well be getting paid; why shouldn't you? Plus, current tax law doesn't allow a deduction for your normal fee when working for a non-profit or a charity. Of course, there's nothing wrong with donating your time to a cause you believe in. Develop a set of criteria for when you will work for a fee, reduced fee, or no fee, and make sure you have an agreement on getting your expenses paid in any of the situations.

It's political campaign season, and remember the magic acronym: C-O-D. Campaigns often overspend, and your invoice will easily be ignored as it takes long periods of time to retire campaign debts. That is, if you ever get paid at all. Nothing like an "involuntary contribution" to a political campaign!
Speaking of political campaigns, there's one fellow on a billboard who looks like he had has picture taken just minutes after stepping out of a sauna. His entire forehead is a specular highlight. I'm thinking of passing the hat out of pity for him; if I raise enough $$ we'll get a make-up artist, if not, a can of dulling spray.

How many times have I heard this lately when arriving at a job location? "We tried doing this shot with a digital camera, but it just didn't turn out right." Do you hear this as well? Apparently, there is a public misconception that buying a digital camera gets you admission into professional photography, right alongside Penn, Avedon, and Stieglitz. Does this come from marketing and advertising, or from the fact that now a representation of the image can be seen immediately on a thumbprint-size screen? The camera manufacturers should include this on the boxes of new products: Warning: Talent NOT Included.

With reference to the above, maybe it does come from marketing. I recall the television commercial where the young woman takes a series of digital panoramic exposures from the Eiffel Tower, some directly into the sun. Back home, she makes prints - perfectly matched for exposure and seamlessly stitched - which cover her walls. Even more magic is the fact that she has a letter sized printer, but the prints somehow transform themselves to almost 16x20 when they reach the wall!

As I survey my massive work desk, I see printers, software manuals, software update boxes, a card reader, a monitor calibrator, and other digital equipment. I also reflect on the learning curve and time spent in the ongoing attempt to master the software of a digital darkroom. Why then are photographers not charging digital fees to recover this time and investment? Don't tell me it's competition; I don't give away film and processing, mileage, airline fares, etc... Digital post-production can be a profit center if managed correctly. Now is not the time to condition clients that it's a giveaway.

One more digital rant: I'm not going to deliver any digital files to clients that are not optimized (save candids or production shots). I know that some say, "let the client do the post work." However, images are my PRODUCT. I want them to leave with my vision and quality control. I'm surprised at how many clients that I assume to be sophisticated have no clue on color space selection or even how to sharpen an image. However, guess who will get the blame for a bad press job if you, the photographer, don't optimize and standardize to professional standards.

"I needed this piece of equipment for the job that costs $ 3x," Joe Photographer says, "but the job was $ 3x and it paid for the equipment." Uhhh, no it didn't. You borrowed from your insurance account, salary account, rent account and others to pay for the equipment.

If you sold stock shares in your business, what would you do to convince someone to buy them? Would it be a value stock or a growth stock? Or a penny stock?

Rocky Kneten