F2-eZine Content Archive #9 - Jan - -Mar 2002

Purchase Books From:

Barnes & Noble.com
Art Catalogues.com
Allworth Press

Book Review

Ambassadors of Progress: American Women Photographers
in Paris 1900-1901

Edited by Bronwyn A. E. Griffith with essays by Verna Posever Curtis, Bronwyn A. E. Griffith, Michel Poivert, and Andrew Robb. Biographies by Laura Ilise Meister.

Musee d'Art Americain Giverny, France in association with the Library of Congress, Washington, D.C.
Distributed by University Press of New England
Hanover and London
ISBN: 0-932171-22-2
200 pp
Pub.Date: 2001

Reviewed by Carole Glauber, copyright 2001

The turn of the 19th century to the 20th accompanied a Renaissance period where inventions and new enterprises coincided with a time of prosperity and optimism. Within a span of 15 to 20 years, most breakthroughs in technology occurred that today influence our lives. Motion pictures, the telephone, electrification, recorded sound, x-rays that revolutionized medicine, and the automobile all predicted an exuberant future. Progress could be seen everywhere.

Yet, most women were still economically dependent on men; many states did not allow women to own property. Still, by 1900, more women were striking out on their own. Increasing numbers of upper class, energetic women attended college; some chose to not marry, nurturing careers instead of families.

Photography provided Frances Benjamin Johnston and scores of other women an opportunity for economic independence and personal autonomy. By this time, due to technological advances, photography was replacing illustrations in the popular press. Johnston pioneered journalistic photography with her dynamic pictures of education in Washington, D.C.and Hampton Institute, portraits of America's elite, photographs made in caves, and images of urban working women.

As an honorary commissioner for the Universal Exposition in Paris planned for 1900, Mrs. Bertha Honore Palmer, turned to Johnston to represent the United States at the International Congress of Photography at Paris during the exposition. By doing so, Johnston organized one of the greatest exhibitions of women photographers in her time. With only short notice, Johnston collected between 150 and 200 images, crated and shipped them to Paris in time for the exposition, and received substantial attention from the French press and populace.

Ambassadors of Progress: American Women Photographers in Paris 1900-1901 is a superb contribution to current scholarship revolving around Johnston and her Paris exhibit. This book serves as a catalog to an exhibition organized by Bronwyn A. E. Griffith at the Musee d'Art Americain Giverny, France in collaboration with Verna Posever Curtis, Library of Congress, Washington, D.C. and with the participation of the National Museum of American History, Smithsonian Institution, Washington, D.C.

The book includes four essays, reproductions of photographs from the Johnston collection, biographies, an appendix of the Russian reaction to the exhibition while it appeared in St. Petersburg, and a detailed bibliography. Bronwyn Griffith provides the historical contexts and political influences. She skillfully outlines the rising popularity of photography among women including the social aspects of clubs, exhibition opportunities, and domestic obligations. Griffith points out how twenty of the thirty-one women selected by Johnston "were unmarried at the time of the exhibition and that eighteen never married." Those who were married often reported the benefit of supportive husbands. Johnston saw her primary objective as highlighting the success of women photographers at the turn of the century and presenting an example of "progress in photography."

Verna Posever Curtis vividly describes Johnston's contributions and provides necessary background to Johnston's life leading to her leadership role in the Paris exhibition. By the time Johnston came to Paris in 1900, she already was a photographer of American presidents and their families, senators, diplomats, and other government officials. In 1894, she had established her own studio in Washington, D.C. and was well known as a journalist, portraitist, art photographer, and salon jurist. Johnston emerged as a logical representative for American photography. Her independent lifestyle and pioneering work positioned her for leadership while she continuously proved her mettle at critical times. Strutting their independence, Johnston and F. Holland Day organized an innovative series of displays of American photography in Paris in 1901, overriding Alfred Stieglitz's objections to such showings he felt inappropriately placed.

Naturally, the French had their own opinions regarding the American exhibitions and the Parisian reaction to the American work is expertly assessed by Michel Poivert. Considering the boycott by, German, Belgium, and Austrian photographers in agreement with Stiegltiz, the Universal Exposition organizing committee welcomed the work of the American women. These photographers represented a unique model for French women who were usually hobbyists or working in male-owned studios. Critics seemed overwhelmed by the American women's work as symbols of modernity and expressed a desire that the French not become Americanized, an irony considering many American women photographers studied art in Paris prior to their involvement with photography.

American art photographers experimented with a wide variety of papers, chemicals, processing, and printing styles. Even the choice of mounts behind the photographs were considered part of the completed work of art. Conservationist, Andrew Robb examines the aesthetic goals of Pictorialist work in relation to the photographic materials used at the time and then assesses how they should be preserved. He illustrates his treatments with an example by Mary Bartlett where he reduced pencil marks and disfiguring surface dirt on the surface of the mount and removed small amounts of adhesive along the edges of the photograph. Other works require more intensive treatments of creases, tears, stains, or adjustments to the mat board. When considering techniques for public viewing of photographs, light levels and intensities must be carefully selected and monitored.

Adding to the comprehensive coverage of Johnston and her cohort, Laura Ilise Meister has compiled biographical abstracts of every woman represented in the Johnston collection. Each entry contains a photograph of the photographer if available, a selected exhibition history, birth/death dates, where she was active, and thumbnail pictures of each photograph from the collection. A selected bibliography provides sources relevant to the book. One interesting facet of Ambassadors of Progress is the inclusion of the Russian response to the exhibit of American women's work while it was displayed in St. Petersburg. The reference to "the style that the Decadents favor" is humorous by today's standards.

What is most striking about this book is the reproduction of seventy-seven stunning color plates representing each of the artists, drawn from the Frances Benjamin Collection at the Library of Congress and the National Museum of American History. Not only do we experience the photographs, but also the mounts with their varied colors, textures, and layers along with the signatures on the mounts. This technique allows us to fully appreciate the beauty and sensationalism of each piece and provides the respect deserved of each photographer by uniting the mount and photograph to create a work of art.

Ambassadors of Progress has harnessed the prolific energies of a select group of workers active over one hundred years ago. With the passing of a century, their photographs, at times derided for their style and technique, are resurrected in a respectful and approachable way. Now, an exhibition traveling from France to Chicago and Hanover, New Hampshire, and this accompanying catalog, allow the world to share in the pleasure and excitement Johnston brought to Paris in 1900. We can applaud the efforts of today's scholars who assure for us the posterity of Frances Benjamin Johnston as ambassador for her corp of women photographers whose courage and creative spirit paved the way for generations to come.

Carole Glauber is a photographer, photo-historian, lecturer, and author.

Seasons of Alaska

Edited by Edward Bovy and Alissa Crandall
Text by Kim Heacox
published by Greatland Graphics, 2001

Reviewed by Carrie Villines

"Seasons of Alaska" is a photographic exploration of Alaska's vast and changing landscape and the flora and fauna that inhabit it. The book celebrates Alaska's natural beauty with 140 photographs from 53 photographers, short essays on each season (which are also translated into German and Japanese), and quotes from writers ranging from Dante to Henry Thoreau.

In keeping with its title, "Seasons of Alaska" is divided into four sections: Spring, Summer, Fall, and Winter. In the preface to the book, Kim Heacox notes that "it has been said that Alaska has two seasons: winter and July." The book, however, rebukes this idea, revealing that each season, fleeting though it may be, has its own distinct beauty.

As one might expect, the book is filled with photographs of luminous sunsets, striking landscapes, brilliantly-colored foliage, and wildlife (bears, moose, caribou, birds, wolves, salmon and walruses, among others). Unlike many pictorial books, however, many of the images in "Seasons of Alaska" offer an artistic and unique perspective of familiar sights. Some notable images are Barbara Brundege's "Humpback whale ‘spy hopping' at sunset, Frederick Sound," Jennifer Fogle's "Wolf in Motion," and Alissa Crandall's "Moose running through Wonder Lake, Denali National Park."

The section of the book devoted to "Winter," Alaska's longest (and arguably most beautiful) season, contains some of the most striking images. Shelley Schneider's "Air Bubbles in Ice, Judd Lake" and "Frozen Minnow and Air Bubbles, Judd Lake" reveal the beautiful patterns that can be found in nature. Though images such as these would seem to imply that life stands still in Alaska during the winter months, the photographs of wildlife in this section, such as Jo Overholt's "Trumpeter swans in snowstorm, Copper River Delta," prove otherwise.

The book concludes with six ethereal images of the Aurora borealis, offering further proof that the truest form of beauty can be found in nature , and that Alaska has this beauty in spades, in any season.

Review by Carrie Villines

Ruth Bernhard: Between Art and Life

Margaretta K. Mitchell  
Ruth Bernhard

From the Publisher
Ruth Bernhard: Between Art & Life is the first biography of this charismatic woman who kept her personal promise to infuse her art with life, and live her life through art." "At a time when women were rarely acknowledged in photography, Ruth carved out her own trademark style. With such zest for life and art, she has often ignored society's conventions related to age or gender. This individuality combined with great wisdom has attracted generations of devoted students. For over forty years Ruth has enjoyed a distinguished career as a revered workshop teacher and lecturer. Even into her nineties, her sparkling personality has not diminished. Ruth Bernhard: between Art & Life shares this beloved artist's recipe for a long and creative life.

Foreword 6
Introduction 9
My Life 21
Coming of Age 49
Giving My Heart to Photography 63
San Francisco 91
Teaching 119
Voices 138
Afterword 152
Selected Lectures and Accolades 153
Acknowledgments 154
Selected Exhibitions 155
Beloved Edward/Darling Ruth 156
Index 158

Format: Hardcover, 172pp.
ISBN: 0811821919
Publisher: Chronicle Books LLC
Pub. Date: September  2000

Also recommended: Ruth Bernhard: The Eternal Body
Format: Hardcover, 70pp.
ISBN: 0961651512
Publisher: Photography West Graphics, Incorporated
Pub. Date: January  1986
Edition Desc: 1st ed


Format: Hardcover, 1st ed., 224pp.
ISBN: 0821221701
Publisher: Bulfinch Press
Pub. Date: October  1999

As director of the Museum of Photographic Arts in San Diego

Historically, many artists have established a symbiotic relationship with their favorite model, and some have taken it a step further and married their models (or made models of their wives). In The Model Wife, Arthur Ollman explores the relationship between nine of the most talented and influential photographers of the past century, including Edward Weston, Alfred Stieglitz, and Lee Friedlander, and their model-spouses.

From the Publisher
With provocative photographs by some of the best-known photographers of the past century, The Model Wife is a striking and original book about the place where marriage and photography converge.. "Friends, lovers, confidantes, collaborators - the multifaceted relationship between husband and wife takes on another dimension when the couple are also artist and muse. In The Model Wife, Arthur Ollman explores the imagery and photographic history of nine twentieth-century photographers who portrayed their wives over a period of years. He delves into issues of marriage itself and the powerful influences that such a partnership can have on artistic production. Comparisons between the couples and the resulting photographs enrich this discussion.

:Baron Adolph de Meyer and Baroness Olga de Meyer Alfred Stieglitz and Georgia O'Keeffe Edward Weston and Charis Weston Harry Callahan and Eleanor Callahan Emmet Gowin and Edith Gowin Lee Friedlander and Maria Friedlander Nicholas Nixon and Bebe Nixon Masahisa Fukase and Yoko Fukase Seiichi Furuya and Christine Gossler

You will see a fairly good representation of images with their wives as subject by nine important photographers (150 in black and white and 5 in color). These photographs show an intriguing progression of perception and relationship over time that you can and should judge for yourself. In almost all cases, the images cover at least a decade (and often more) so the time-lapse element of the relationship is strong.

In Real Life: Six Women Photographers

Leslie Sills  
Cindy Sherman (Photographer)  
Lola Alvarez Bravo (Photographer)

Format: Hardcover, 1st ed., 80pp.
ISBN: 0823414981
Publisher: Holiday House, Inc.
Pub. Date: September  2000
sales rank: 100,476

From School Library Journal  
Gr 6 Up-A celebration of the diverse careers and artistic styles of six photographers whose work spans nearly a century. Veterans Dorothea Lange, Imogen Cunningham, and Lola Alvarez Bravo are featured along with relative newcomers Elsa Dorfman, Carrie Mae Weems, and Cindy Sherman. In an upbeat voice, Sills traces the women's early lives and the events that propelled them to explore the world with a camera in hand, often breaking down ethnic and gender barriers in the process. While she does justice to the biographical details of her subjects, her discussions of their individual techniques suffer because there are too few photographs. The chapter on Lange, for example, has only nine photographs, and while five of them depict her evocative portraits of Dust Bowl refugees, they fail to reveal the breadth of her talent. Chapters on Bravo and Weems include just six representative works of each artist. However, an excellent bibliography and list of Web sites will point readers to sources containing additional visual elements.-William McLoughlin, Brookside School, Worthington, OH Copyright 2001 Cahners Business Information.

Early Work of Cindy Sherman 

From the Publisher
This volume contains two early photographic series—"Bus Riders" and "Murder Mystery People"—by Cindy Sherman, shot in 1976, soon after she graduated from art school. It is accompanied by a CD of found sound-based music by The Glove Compartment, aka Gian Carlo Feleppa.

Format: Hardcover, 40pp.
ISBN: 0965402037
Publisher: Glenn Horowitz Bookseller
Pub. Date: May  2001

Cindy Sherman: Retrospective

Amanda Cruz
Elizabeth Smith

Sherman made her name as a photographer with a sequence of self-portraits
in the form of movie stills, and since then she has remained one of the most influential of contemporary artists. This is a well-illustrated catalog to a major retrospective of her work that has been co-organized by the Museum of Contemporary Art, Chicago and the Los Angeles Museum of Contemporary Art. 210 color illustrations


Lenders to the Exhibition
Movies, Monstrosities, and Masks: Twenty Years of Cindy Sherman 1
The Sleep of Reason Produces Monsters 19
Tracing the Subject with Cindy Sherman 33
Plates 55
Checklist of the Exhibition 197
Artist's Biography 201
Selected Bibliography 208
Acknowledgments 218

Format: Paperback, 2nd ed., 220pp.
ISBN: 050027987X
Publisher: Thames & Hudson
Pub. Date: August 2000

Annie Leibovitz - WOMEN

Susan Sontag
Annie Leibovitz (Photographer)

Women, award-winning photographer Annie Leibovitz celebrates the rich and varied roles women play in society at the dawn of the new millennium. Here are the celebrity photos -- Jodie Foster, Hillary Rodham Clinton, Elizabeth Taylor -- for which Leibovitz is perhaps best known, but they stand alongside stunning depictions of less famous women -- an astronaut, a rancher, a dancer, an architect -- whose contributions to the world we live in are no less valuable for being less celebrated. Susan Sontag contributes an insightful and thought-provoking essay.

A book of photographs; a book about women; a very American project: generous, ardent, inventive, open-ended. It's for us to decide what to make of these pictures. After all, a photograph is not an opinion. Or is it?


Format: Paperback, 256pp.
ISBN: 0375756469
Publisher: Random House, Incorporated
Pub. Date: October  2000
Edition Desc: REPRINT
sales rank: 18,954

Florence Henri, Artist-Photographer of the Avant-Garde: 
Artist Photographs of the Avant-Garde

San Francisco Museum of Modern Art 
Florence Henri

Format: Paperback, 158pp.
ISBN: 0918471176
Publisher: San Francisco Museum of Modern Art
Pub. Date: January  1992

Florence Henri (1893-1982) was born in the United States but spent most of
her life in France, where she was closely associated with major figures of
European modernism. Initially a student of painting at Fernand Léger and
Amdée Ozenfant's Académie Moderne in Paris, she quickly became a gifted
participant in the most advanced art movements of the time -- late Cubism,
Purism, and Constructivism. In 1928, having spent a semester at the Bauhaus
in Dessau, she turned to the camera and moved swiftly from the avant-garde of
one art form to the avant-garde of another. For a heady ten years before the
interruption of World War II, Henri created an extraordinary body of
work--still lifes, abstract compositions, advertising photographs, and
photomontages--that contributed to the development of geometric abstract art
and of modern photography in France. Florence Henri: Artist-Photographer of
the Avant-Garde is the first extensive treatment of Henri's work published in
the English language. This richly illustrated monograph offers a concentrated
examination of the artist in the context of her time, focusing on the
remarkably productive period between the world wars when she realized her
most avant-garde efforts.

To purchase this publication, please call 415.357.4035, fax 415.357.4043, or
email: museumstore@sfmoma.org.

Our Mothers: Portraits by 72 Women Photographers

Viviane Esders

Format: Hardcover, 160pp.
ISBN: 1556704429
Publisher: Stewart, Tabori & Chang, Inc.
Pub. Date: March  1996

Description from The Reader's Catalog
Portraits of their mothers and themselves by, among others, Annie Leibovitz, Mary Ellen Mark, Inge Morath, Elizabeth Lennard, and Gisele Freund.

From the Publisher
Our Mothers is a remarkable collection of portraits and essays by women photographers of different generations, cultures, and races. Paris gallery owner and editor, Viviane Esders, offered each photographer the opportunity to fill a double page spread with words and pictures describing her mother. All of the participants presented Esders with a unique artistic capsule that illustrates the indestructible bond between mother and daughter. Some provided their own portraits, others submitted a beloved family photograph &3151 often of a beautiful young woman before she became a mother — and a few created a work of art to best symbolize their perception of mother. These seventy-two personal statements illuminate the magical, often mystical, sometimes emotional, but always fascinating relationships between mothers and daughters. And the international quality of these portraits reinforces the universality of such relationships.

The Witch of Kodakery: The Photography of Myra Albert Wiggins, 1869-1956

Carole Glauber  
Myra Albert Wiggins

From the Publisher
The Witch of Kodakery is the ground-breaking biography of Myra Albert Wiggins, the successful early 20th-century Oregon photographic artist with connections to Alfred Stieglitz and the Photo-Secession. Myra Wiggins (1869-1956) embodied the ideal of the "new woman" - independent, energetic, and ambitious - as depicted by the Eastman Kodak Company's "Kodak Girl" and promoted as "The Witchery of Kodakery." In Witch of Kodakery, biographer Carole Glauber resurrects Wiggins' pioneering role with a provocative text and fine examples of the artist's work, particularly from Wiggins' most prolific years, 1889 to the early 1910s. Also included is a foreword by Terry Toedtemeier, curator of photography at the Portland Art Museum.

Format: Hardcover, 152pp.
ISBN: 0874221498
Publisher: Washington State University Press
Pub. Date: July  1997

Reframings: New American Feminist Photographies

Diane Neumaier (Editor)  
Foreword by Anne Wilkes Tucker

Format: Paperback, 336pp.
ISBN: 1566393329
Publisher: Temple University Press
Pub. Date: August  1998

This "is a collection of contemporary, photo-based artworks and critical essays that examines feminist perspectives on the politics of visual representation and its impact on women's lives... {Themes include} gender, ethnicity, sexual orientation, class, and age. The book is divided into eight... chapters that combine artworks and essays by known and unknown artists." (Choice)

From the Publisher
Concern about how women are represented, despite varied and often conflicting conceptions of feminism, is the underlying force in this collection. Eight critical essays grounded in feminist analysis explore the different issues that arise in these artists' visual representations, including social space, family life, child care, work, food, romance, sexuality, advertising, and consumer culture. They are feminist critics looking at feminist art, an act Diane Neumaier argues happens all too rarely as feminist critics have in the past busied themselves with critiquing dominant culture. Together these artworks and essays explore the dynamics of visual images and ideology, including expressions and interpretations of autobiographical photographic projects, self-representation of women's bodies, conflicting identities, and the relationship between photographer and

From Library Journal  
Some of the 45 women artists presented here are well known (e.g., Nan Goldin, Susan Meiselas, Anne Noggle, Cindy Sherman, and Carrie Mac Weems)

These photographers attempt to "reframe" women in positions of power and authority or to present images that aim to shock us into confronting the reality of women's roles in society. While the quality of the writing and reproductions is uneven, this book would be a valuable addition to collections of contemporary photography or women's studies.Kathleen Collins, New York Transit Museum Archives, Brooklyn

Pioneer Photographers of the Far West
A Biographical Dictionary, 1840-1865
Peter E. Palmquist and Thomas R. Kailbourn
Foreword by Martha A. Sandweiss

"A rare example of a readable and even entertaining reference book... here are tales of family drama and stories of business squabbles, accounts of the first women to pursue photography in the Far West, and the story of the first Chinese person to make pictures in San Francisco... A book which sets new standards for research and becomes an instant bible for anyone working in the fields of western American history or the history of photography."

"Distinguished by its imaginative breadth, its copious scholarship and its entertaining literary style, Pioneer Photographers of the Far West becomes the standard that future biographical compendia and photographic history books will aspire to match." From the Foreword by Martha A. Sandweiss

This extraordinarily comprehensive, well-documented, biographical dictionary of some 1,500 photographers (and workers engaged in photographically related pursuits) active in western North America before 1865 is enriched by some 250 illustrations, many of them previously unpublished.

Stanford University Press

pp. 704 ¾¾250 illustrations
cloth isbn: 0-8047-3883-1 ¾¾$125.00

Parents at Last: Celebrating Adoption and the New Pathways to Parenthood
Cynthia V. N. Peck and Wendy Wilkinson, Photographs by Helen Kolikow Garber

For some, parenthood comes easily; for others, the path to parenthood is long and paved with challenges, not only physical but emotional and financial as well. In words and photographs, Parents at Last celebrates 32 couples and individuals who perservered in their quest to become parents, often in the face of formidable odds.

Hardcover: 50 b/w photographs
160 pages 11" x 8 3/4"
Clarkson N. Potter, Inc. ISBN 0-609-60290-X

No Easy Walk, Newark, 1980-1993
Text and photographs by Helen M. Stummer

The book depicts the suburbanites journey into the ghetto, records what she has experienced and celebrates the human spirit.

"No Easy Walk is enormously moving. Carol and her neighbors come vividly to life. The author nicely avoids the customary condescension of too many visitors in poor communities and infuses Newark's Central Ward with all the mixture of sorrow and courage that its residents display...Carol emerges as a woman of tremendous strength and dignity. I hope the book is widely read." - Jonathan Kozol.

Along with meaningful and compassionate photographs, Stummer has provided a brief history of Newark, highlighting its early strengths and clearly itemizing the steps along its decay.

Temple University Press
Philadelphia, 1994
140 pp 16x7
Softcover ISBN 1-566 39-242-x
Hardcover ISBN 1-566 39-243-8

Available at Barnes and Noble.

A History of Women Photographers by Naomi Rosenblum

Here is yet another publication that strives to rescue from oblivion the neglected achievements of women in the visual arts. Juxtaposing the past 155 years of photographic history with events from women's social history, Rosenblum (A World History of Photography, LJ 2/1/85) documents women's contributions to the technological, artistic, and experimental development of photography. Her feminist narrative explores women's creativity both as a means of self-expression and as a lucrative profession. The 36 color plates, along with over 200 black-and-white illustrations, include fine examples of portraiture, advertising, and photojournalism. The last section contains valuable thumbnail biographies of approximately 240 female photographers-from the obscure to the famous-whose illustrations appear in the text. An ambitious bibliography makes this a prime tool and stimulus for researchers. Highly recommended for photography, women's studies, and young adult collections. -- From Library Journal Joan Levin, MLS

Hardcover,Ó2nd ed.,Ó400pp.
ISBN: 0789206587
Abbeville Press, Incorporated
AugustÓ 2000


Allworth Press Catalog List

WIPI suggested reading list of Allworth Press titles.
Please check their web site for more titles about The Business of Photography, Education and Promotion.

The Photographer's Guide to Marketing and Self-Promotion by Maria Piscopo (How to Find and Keep Good Paying Clients)

*** Maria is contributing writer to WIPI Marketing News. See our current and archival issues for her articles.

Well-known photographers' representative discusses specific and effective ways to build a marketing plan. Emphasis on how to establish long-term relationships. Includes discussion of pricing, taking advantage of market conditions and negotiating.

"Piscopo's book is full of specific practical information that takes into account today's difficult economic climate for commercial photographers...Promotion pieces, portfolios, advertising, public relations, rates, reps and the ethics of good business are just a few of the other topics covered in this excellent manual." --Popular Photography

6 3/4 x 10, 176 pages Softcover
ISBN 1-880559-24-2

ASMP Professional Business Practices in Photography by ASMP (American Society of Media Photographers)

Fifth Edition, unquestionably the authoritative source of information on business practices, standards, and resources for professional photographers.

6 3/4 x 10, 416 pages, Softcover
ISBN 0-927629-14-3

Business and Legal Forms for Photographers by: Tad Crawford

Covers electronic rights, essential forms and negotiation tactics. Includes an estimate form; confirmation of assignment, invoice; agency contract; releases and much more. A CD-ROM w/electronic versions of each form is provided.

8 1/2 x 11, 224 pages Softcover
ISBN 1-8890559-82-X

The Law (in Plain English) for Photographers by: Leonard DuBoff

A thorough discussion of the legal and business issues of everyday concern in professional photography. Topics covered include: copyright, defamation and libel, censorship and obscenity, business organization and taxes, working and living space, contracts and remedies, agents, estate planning and more.

6x9, 208 pages; Softcover
ISBN 1-880559-19-6

Pricing Photography by: Michael Heron & David MacTavish

This essential resource for photographers, art directors, and graphic designers explains how to price both assignment and stock photography and gives detailed pricing carts for every use from a magazine ad to a mug. Revised and updated, it covers pricing for electronic rights as well as new developments in business. (Also see ASMP above, both a must to be well informed on the business of Photography)

11 x 8 1/2, 152 pages, Softcover
ISBN: 1-880559-68-4


Purchase books from:

Barnes & Noble.com


Art Catalogues.com

Allworth Press

F2-eZine Content Archive #9 - January-March 2002