Photographer Stephanie Morey
back to the photo community through education and expertise.
with her full days, Stephanie Morey still finds time to shoot. "It is
important to me. I do not do it as much as I used to, but, in a way, it
is no different than before Freestyle. I still have to create time to
be a photographer because time does not create itself." ..
Stephanie Morey gives back to the photo community through education
and expertise as Freestyle's Training & Marketing Coordinator. Freestyle
is one of the most recognizable names in the photo industry. The first
nationwide supplier of such names as Oriental, Ilford, Arista, and Holga,
Freestyle has spearheaded numerous products and helped many companies
break into the tough U.S. market.
This same innovative business strategy made Freestyle the first retailer
in the industry to offer a "No Risk" guarantee on everything they sell
including sensitized goods like film and paper. For their mail order
customers, Freestyle is leading the industry by virtually eliminating
expensive haz mat fees and providing same-day shipping service at no
One of a handful of companies in the United States to have a Kodak strategic
partnership agreement, their customer base spans the spectrum and includes
a loyal following of professionals, schools, educators and students. Remarkable
customer loyalty is due in part to their commitment to provide both education
and expertise to all photographers. Their catalog includes pages of
techniques and advice. Freestylin' Quarterly Newsletter, local
Keepin' Up With Freestyle, and the Advisor Series are both educational
and free for the asking.
Freestyle is also the only major photo supplier with an on-staff training
specialist who helps ensure that everyone, employees and customers alike,
has an opportunity to learn and grow. Marketing and Training Coordinator,
Stephanie Morey, has put into place rigorous employee standards for
both customer service and technical knowledge, and she is continuously
working to create new channels for customers to increase their photo expertise.
Schooled in both Human Communication and Instructional Design and Technology,
Stephanie Morey worked as a Consulting Training Coordinator to Bank of
America and later as a Project Manager for LaSalle Partners. She started
exploring photography in 1996 to, as she puts it, "jump start my flagging
creativity" and was about to turn her passion into a profession when Freestyle
approached her. She joined the team in 1998 and became the company's Training
Coordinator in 2000, a role recently expanded to include Marketing Coordinator.
"I was presented with an extraordinary opportunity to combine my skills
in training and photography in a professional environment. I choose to
define and express myself through my work, so a chance to work in both
these fields was an opportunity tailor-made for me."
40, is described as a friendly and intensely-energetic woman. A characterization
that elicits a chuckle. "We are all this way. It is practically company
culture. Our energy and enthusiasm keeps us creative and working hard,
and we have fun doing it. Thanks to the leadership of Gerald H. Karmele,
Freestyle's Chief Operating Officer, we are more focused and are driving
harder than ever before.
Morey's office opens directly onto the sales floor of the Hollywood Retail
Store, located on Sunset Blvd. Behind her hangs a large, framed plaque
containing the company's mission statement that reads, in part, "...We
will provide every customer with the ultimate shopping experience -- helping
to maximize the proficiency, knowledge and enjoyment of their photographic
her right hangs two 8x10 lith prints, a Maco IR820c infrared print, and
a cross-processed assemblage print.
I moved into the Training Coordinator position at Freestyle we saw an
immediate need. No retailer in the industry had formal training programs
in place for both employees and customers."
a rule, photo suppliers have lost sight of their customers. They give
priority to their cameras, not their customers," says Morey, "As a
photographer I've been there. When I go into other camera stores I feel
like I'm about to enter a battle of wits. That does not happen at
Freestyle." "Oue employees have always had the reputation of being
the friendly helpful folks. But by the mid 1990's we were growing so fast
that our legacy of great service was in danger of being lost. That is
why my job became so important. Every employee had to be on top of their
game right away. Freestyle customers expect (and deserve!) the best in
sales and service every time they call or visit."
in 2000, Freestyle set new standards for everyone who deals with the public.
Stephanie spearheaded a program which requires sales employees to attend
three days of customer service training and ensures that all sales employees
are PMA recognized as Certified Photography Consultant. She also provides
employees with regular classes on photographic theory and application.
approach to customer education is equally focused. "Job-one for Freestyle
is to become a total customer resource for both supplies and education.
Photography is an amazingly dynamic craft and most of us are hard-pressed
to discover new directions on our own. There is just not enough time."
"Freestyle, on the other hand, has more available knowledge and expertise
than anyone else in retail," says Morey. "Over the decades we have developed
relationships with some of the masters of our craft. So, the decision
to share our expertise was easy. After all, what good is it if we keep
it to ourselves?"
chose to begin with printed publications because they have a number of
inherent advantages. Periodicals like Freestylin', Keepin' Up With
Freestyle, and the Advisor Series lets us reach the largest
number of customers who can then keep them as a reference. We see our
other printed pieces as an opportunity to disseminate knowledge, too.
We put material in our "Did You Know" column in PC Photo magazine,
in our catalogs and all over www.freestylephoto.biz."
course we never lose sight of the importance of established learning institutions.
Without schools, photography as we know it wouldn't exist," says Morey.
" We have developed a number of support programs, "Show Your School
Spirit," a program from which college photo departments receive thousands
of dollars annually. Every time a store customer buys, Freestyle donates
a percentage to the college photo department of the customer's choice.
students, Freestyle sponsors the SPE Crystal Apple Scholarship, a $5,000
award presented by the Society for Photographic Education to one outstanding
college school photo student. Local full-time students can also get
a Student Discount card to help them save money on supplies. With the
popular Demonstration Program educators can request a free, on-campus
demonstration designed to augment class curricula and give students hands-on
experience in the creative processes.
the suggestion that other companies also provide on-campus demos, Morey
smiles. "True, but ours are not vendor-sponsored dog and pony shows. We
are out to make real learning possible."
is in store for 2003? "Increased opportunities for customers to learn,
share, and grow, confides Morey. "We recently found ourselves asking what
happens to a photographer after they graduate from school? If they have
the money and time they can attend a workshop. But that is both periodic
and finite. So, we are going to start looking at ways we can supply 'post-graduate'
educational opportunities. We want to create an environment that fosters
ongoing discussions, lifelong growth, and the exchange of ideas. We've
already started with the Freestyle Board of Photographic Advisors." Incepted
in Fall 2002, this Advisory Board is comprised of some of the most talented
and influential professionals in the photographic industry. The Board,
currently seventeen members, includes notable names like John Sexton,
Bob Byers, Henry Gilpin, Robert Hirsch and Gene Nocon and also includes
notable women photographers Theresa Airey, Elizabeth Opalenik and Norma
members of our Board of Photographic Advisors are more than photographers.
They are mentors, educators and advisors. We are extremely fortunate that
they share our vision and are willing to share their expertise. Customer
can go to www.freestylephoto.biz and email their questions to some of
our Board members. Also look forward to product reviews and articles written
can also look forward to our store renovation. We intend to create an
environment where customers can come to discuss their craft and experience
something new. We will add new state-of-the-art training facilities that
will include a lecture/presentation room and a training darkroom. In our
version of the future, none of our customers are left without an opportunity
to learn and grow. There are more plans, but I'll let them be a surprise."
with her full days, Stephanie Morey still finds time to shoot. "It is
important to me. I do not do it as much as I used to, but, in a way, it
is no different than before Freestyle. I still have to create time to
be a photographer because time does not create itself.""I've
found that my creative tastes have changed. I still have my Hasselblad
and Speedotron kits, but my latest passion is for pinhole, Holgas, and
alternative processes. I also love combining digital and traditional processes
gear includes two Holgas, a Zero Image pinhole camera, a variety of 35mm
Canons, and a Hasselblad kit. She uses both a Sekonic Multi 508 and a
Minolta IV-F light meter. Favorite films include Arista 125, Maco IR820c
and Agfa Scala.
1. top merge visible - 2.
untitled2 NY, self-portrait - 3.
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and Legal Forms for Photographers
by Tad Crawford
Forming New Strategies for Photographers’
Attorney-Author Crawford Updates Industry
Classic for Apprehensive Age.
Both the manner and business of photography have changed in
recent years. Technology has opened the door to new equipment and opportunities,
as legal and economic changes have altered the way photographers find
and perform jobs. Today’s uncertain financial climate has emphasized the
age-old need for photographers to negotiate and meet deadlines and budgets,
while legal tools for protecting their work have assumed a new urgency.
Help is now on the way. Attorney Tad Crawford has fully revised and expanded
the industry classic Business and Legal Forms for Photographers, third
edition, to help photographers organize and promote their businesses as
well as minimize legal vulnerability.
For all of the most important transactions any photographer is likely
to undertake, this volume contains thirty-one business and legal forms,
step-by-step instructions, advice on standard contractual provisions,
thorough discussion of contractual issues relevant to the industry, and
unique negotiation checklists to help photographers operate with the highest
standards of professionalism. “Attaining the knowledge of good business
practices and implementing their use is an important step toward success
for any professional,” Crawford observes.
The third edition of this esteemed guide has been updated to cover electronic
rights’ issues and includes five new forms for trademark application,
employment application, employment agreement, restrictive covenant for
employment, and project employee contract. All of the forms are included
on a CD-ROM to aid in customizing for use in the practice of the profession.
The thirty-one forms also include:
* license of rights
* application for copyright
* sale contracts
* nondisclosure agreements
* stock agency agreements boo
Business and Legal Forms for Photographers, third edition, also contains
information on photographers’ organizations, how to contact volunteer
lawyers for the arts, and much more. In a time of rapid change, this book
is an essential resource for photographers—well-established or beginning—seeking
the path to success.
Business and Legal Forms for Photographers can be found
in better book stores, or it can be ordered directly from the publisher
by calling: 1-800-491-2808, or order online from our catalog page
where you will also find a full description, a table of contents, and
$29.95, 8 1/2x11, 192 pages
Paperback, ISBN 1-58115-206-X
Publication Date: January 2002
Professional Business Practices in Photography
Society of Media Photographers
This classic guide is the ultimate source on key business practices
and industry standards from the foremost authority in professional photography.
From standard practices in stock and assignment photography to special
one-time decisions such as acquiring a digital workstation, this “business
bible” provides the latest answers to any legal or business question an
aspiring or professional photographer can ask. In eleven in-depth chapters,
over two dozen industry experts offer practical guidance on such topics
as estimating prices, formalizing agreements, using electronic technology,
and much more. This completely updated Sixth Edition also features dozens
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extensive cross-media bibliography.
6 3/4 x 9 7/8, 416 pages; Paperback, ISBN 1-58115-197-7;
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Complete Guide to Assignment and Stock Prices
by Michal Heron and David MacTavish
This classic trade reference tool provides photographers with
a wealth of time-tested information on everything from estimating prices,
identifying pricing factors, negotiating fair deals, and much more. Chapters
include practical information on the economics of photography, cutting-edge
negotiation techniques, and the specifics of pricing electronic media.
Over fifty pages of at-a-glance pricing charts help photographers tailor
their pricing to suit any sales situation. Plus, readers will also find
a complete “buyer’s guide” for art directors and editors, a comprehensive
glossary, and dozens of ready-to-use worksheets and forms for even more
instant help. A must-have addition to every photographer’s bookshelf.
11 x 8 1/2, 160 pages; Paperback, ISBN 1-58115-207-8;
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Publication Date: January 2002
Photographer’s Guide to Marketing and Self-Promotion
by Maria Piscopo
A veteran photographer’s rep reveals how to find more clients and make
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that incorporates self-promotion, advertising, direct marketing, public
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“Piscopo’s book is full of specific, practical information. Promotion
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“As a veteran photographer’s rep, author Piscopo knows what she’s
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20 years in the business for less than $20.”—Studio Photography.
6 3/4 x 10, 192 pages; Paperback, 40 b&w photographs,
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Publication Date: July 2001
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Photojournalist's Guide to Making Money
Market savvy, expert research, and first-rate resources combine to
make this book the tutor that can take experienced photojournalists to
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look at how today's pros really sell their work details the powerful maneuvers
they use. Step-by-step instructions tell how to establish a business,
implement the latest research tactics, network with editors and other
photo buyers, pitch to television producers, and expand business through
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cutting-edge strategies for tapping into the lucrative photojournalism
6X9, 224 pages; Softcover, 40 b&w illustrations, ISBN 1-581150076-8;
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Publication Date: December 2000
For Your Art
A Guide for Artists, Collectors, Galleries and Art Institutions
By Jill Snyder
Colors That Don’t Age, Wraps That Don’t Scratch
Jill Snyder Shares the Latest Techniques and Tips that Bring
Eternal Life to Any Artwork
Art history is full of stories about artworks that have been
destroyed due to accidents or neglect—yet we rarely talk about those millions
of artworks which, thanks to proper care and handling, have survived throughout
centuries. In Caring For Your Art, Jill Snyder explains the secrets
of displaying, transporting, storing, and insuring art objects that help
extend the life of paintings, prints, photography, and sculpture against
all possible odds. New to this edition are interviews with key figures
from the art insurance, art risk management, and conservation industries
that have been conducted by Ann Albano, registrar of the Cleveland Center
for Contemporary Art.
Concerns about preserving an artwork ideally start before a work
is created or put on display: What degree of humidity can a studio or
show room have? How will the exciting new plastic material behave once
the color has dried out? With Caring For Your Art, those involved
with the creation and distribution of art will be able to choose locations,
creative material, supports, framing equipment and wrapping material without
running into unpleasant surprises.
Whether an artwork remains in one place or is constantly shipped from
one exhibit to another, numerous hazards need to be taken into account.
Caring For Your Art helps caretakers of art objects to create a
seamless chain of protective measures that ensures optimum care of the
artwork under any imaginable circumstance.
Written by a curator and art aficionado who has been an expert on art
preservation for many years, Caring For Your Art takes into account
the latest advances in creative materials and techniques, preservation
technology, and insurance requirements. The book will prove an invaluable
companion to every artist, curator, gallery owner, or collector concerned
about the protection of his art objects, and includes
* cutting-edge ways to limit environmental hazards
* the latest techniques for creating, packing,
transporting, and storing art
* recommendations for the use of acid-free
* using manual and computer systems for record
* checklists that help identify gaps in the
* easy-to-grasp illustrations of complex
Caring For Your Art can be found in better book stores,
or it can be ordered directly from the publisher by calling: 1-800-491-2808,
or order online from the Allworth catalog page where you will also find
a full description, a table of contents, and reviews.
Publication Date: September 2001
Historic Photographic Processes
Historic Photographic Processes is a comprehensive user's guide
to the historical processes that have become popular alternatives to modern
and digital technology. Though many of the techniques, applications, and
equipment were first developed in the nineteenth century, these same methods
can be used today to create hand-crafted images that are more attractive
and permanent than conventional prints or digital outputs. Fine-art photographer
Richard Farber incorporates extensive research with clearly-written directions
and resource lists to provide in-depth information on eight of the most
enduring processes in photographic history, including salted paper, albumen,
cyanotype, kallitype, platinum/palladium, carbon/carbro, gum bichromate,
and bromoil. He guides the reader through each step, from selecting the
appropriate paper and sensitizing it to exposing, developing, and toning
the final print. Each method is accompanied by a short explanation of
how it was originally used and its significance in the evolution of photography.
Historic Photographic Processes contains more than fifty
color and ten black-and-white images that beautifully illustrate each
of the processes described. Chapters include an introduction to photographic
techniques and applications, such as useful safelights, sizing paper,
measuring solutions, exposure controls, ultraviolet light sources, and
making enlarged negatives, as well as an extensive section on safety in-
and outside of the darkroom. The appendix provides important information
on the chemicals discussed, as well as health-and-safety references, supply
sources in the United States, Canada, and Europe, and a complete catalog
of Internet resources
Art, Technology, and Intellectual Property:
First Assembly of the American Assembly
J. Paul Getty Museum
Building a California Community Stakeholders and Technology Impacts
Getty Center, Los Angeles - June 28, 2002 - uploaded October 2002
Panel 1 - The Stakeholdaer Continuum
Meryl Marshall-Daniels, Founder and President of Two Oceans
Jerry Campbell, Chief Information Officer, University Librarian,
and Dean of the Univesity Libraries at the Univesrsity of Southern California.
Jay Heifetz, Cofounder and Principal of Heifetz Communication
Ken Robinson, Senior Advisor to the President for Education,
the J. Paul Getty Trust
Scott Ross, Chairman and CEO of Digital Domain, Inc.
Panel 2 - Technology is Creating, Distributing and Accessing Art
Jeff Cole, Universtiy of California, Los Angeles, faculty, Cole
serves as the Principal Investigator of the UCLA World Internet Project.
Derek Broes, Founder of the Distributed Computing Standards
Sandra Ruch, Executive Director of the International Documentary
Patrice Rushen, Alumna of the Colburn School of Performing
Scott Siegler, Founded Tri-Star Television, and was later
apponted President of Columbia Pictures Television
A personal view...by Jean Ferro, Photo Artist and President, Women
In Photography International
I had the wonderful opportunity to attend the first assembly of the American
Assembly. The J. Paul Getty Museums audience was full of the most
talented arts educators, non-profit directors, and artists from the Los
Angeles Community. One of the most important aspects of the creation of
art is the final outcome, and preserving the art work. Sometimes its
more exciting to just create and much more of a stumbling block to protect
and preserve the art work. So, how it is handled, viewed, protected and
how the artist is abel to preserve their identity with his/her art for
generations to come becomes very important issue. The first step is to
be equipped with knowledge to support this goal.
The panel,..... brought forth ideas, questions and suggested solutions.
Perhaps, opening the dialog and only scratching the surface of this new
advent of technology and the transitions we all face while travelling
on the infrastructure of the super highway of communication. As simple
as it was for me to download all this information from the Assembly website,
(which they encouraged), it is that simple to digest any artwork that
is available on the internet. Drag and Click and it's yours! What do we
do? How do we protect our work? What programs, alternatives, exchanges
exists. Is your work registered with the copyright office? What path would
you follow to find out if it's being used without your permission. Do
you know your rights? Do you make clear to your clients the rights granted?
Do you include a copyright notice with the sale of your work? Is your
work protected in the USA, Worldwide?
There is no one answer, and there are constant changes and possible solutions
that need to be addressed at each turn in the road. Its never too
late to start to take steps to maintain that security. A fine example
and one of the most successful artists who understood how to preserve
and secure a place for his art and name was Andy Warhol...
Please read the information below and visit the links that we have provided
to educate you and your right to be educated in art.
The Assembly has a distinguished history of examining
issues of arts & culture
The American Assembly, an affiliate of Columbia University, was
founded by USA President Dwight D. Eisenhower in 1950 "to illuminate
issues of public policy."
American Assembly's commitment to issues involving arts and culture goes
back to its founding. Dwight D. Eisenhower envisioned The
Assembly as a nonpartisan setting for people with divergent interests,
points of view, backgrounds, and perspectives, but all with an interest
in a single issue, to come together and find out what they share, what
they agree on, and how they can work together. Fifty years later, Ike's
creation remains fresh in spite of how modern American Assemblies contain
more points of view and many more issues that matter profoundly to the
American polity. Nowhere is this more evident than in the arts and culture
sector of our society. Through structured discussions, commissioned research,
meetings, and publications, The American Assembly conferences provide
a singular venue for examining and shaping the formulation of sustainable
public policy for the arts and culture sector and for developing the kinds
of responsible recommendations that this nation requires. A recent Assembly
project was hailed as "identifying a paradigm shift in how the arts
are viewed by society."
Projects undertaken by The Assembly include:
* Art, Technology, and Intellectual Property (2001 and 2002)
This project is described in detail on this webspace.
* Deals and Ideals: For-Profit and Not-For-Profit Connections (1998
The report from "The Arts and the Public Purpose" meeting
identified, to quote a senior foundation executive, a "paradigm shift
on how the arts are viewed by society," and the "Deals and Ideals"
report focused on the increasingly crucial relationship between the for-profit
and not-for-profit parts of the arts sector. Both reports were referenced
by numerous organizations, including the largest and most influential
arts service and membership organizations for their annual meetings. The
"Deals and Ideals" project continues--ARTS Inc. held a conference
in June 2001 using the Assembly report as the basis of the meeting.
* The Arts and the Public Purpose (1997)
The background papers commissioned for the initial project have been
published by Rutgers University Press as The Public Life of the Arts in
* The Arts and Government (1990)
The Assembly sponsored a series of meetings in communities around
the country, the results of which inform the Arden House Assembly on government
funding and the arts, and led to the publication of a book, Public Money
and the Muse, which today continues to be a standard text in arts study.
* The Arts and Public Policy in the United States (1984)
A reprint of the book from this Assembly attests to its popularity.
* The Performing Arts and American Society (1977)
Four subsequent regional Assemblies followed the Arden House meeting,
encompassing the South, mid-America, the Great Lakes region, and the Northeast.
This background volume has also been reprinted by The Assembly and remains
* On Understanding Art Museums (1974)
This Arden House meeting was followed by an international Assembly
on art museums at Ditchley Park in England. The background volume, commissioned
by The Assembly, has been reprinted three times and is still available
from The Assembly.
* Cultural Affairs and Foreign Relations (1962)
The first edition of the background volume was widely circulated,
with a thorough revision and expansion published six years later to meet
The national Assembly meeting on "Art, Technology, and Intellectual
Property" will address how the arts are not participating fully in
the nation's shift to an information society and to a global economy where
intellectual property is a key resource in this new society and economy.
This will be one of the first national efforts by a nonpartisan, public
policy institution to address the impacts, challenges, and opportunities
resulting from technological advances that are confronting the arts as
a discrete sector of society. Building on the work of the two mini-Assemblies
as well as prior research, and informed by commissioned background papers,
The Assembly will convene an intensive three-day national meeting of seventy
participants representing the combined thinking and experience of the
arts constituencies, leading technology experts, and the nation's foremost
intellectual property authorities. These stakeholders and policy makers
will undertake a thorough examination of the key public policy issues
and practices related to the arts, technology, and intellectual property
Representatives of the arts disciplines and constituencies will express
their views and interact with legal authorities and technology experts
to develop recommendations across disciplines that will deepen and enrich
this ongoing public policy process. The participants will examine (1)
how policies and traditional legal doctrines are being adapted in the
information age, (2) their likely impact on the arts and on existing and
new business models deployed by the arts, and (3) ways in which the traditional
policies and legal doctrines should be modified to appropriately accommodate
the public interest in the arts. The participants will explore the implications
of such legal issues as: fair use, the public domain, access to creative
works, and the enforcement of intellectual property laws as they relate
to the arts. They will also examine concerns surrounding preservation,
and, finally, the global dimensions of the impact of technology and intellectual
property on the arts.
The American Assembly has commissioned two books that will initially inform
the participants. Michael Shapiro's book will focus on the impact of technology
on the "cultural bargain," that arrangement between the state
and the individual creator for the benefit of the public. Margaret J.
Wyszomirski's book will draw on existing work and will commission several
studies relating to relevant business models. As with all Assembly volumes,
both books will be published commercially for distribution to the public.
The participants will issue a printed report of findings and policy recommendations
to inform the arts, technology, legal, and business communities, as well
as The Assembly's traditional constituents of public and private sector
leaders, institutions, and interested citizens. The report will also be
available on this website along with the report from the two mini-Assemblies.
Much of the commissioned research for the project will also be made available.
The Assembly will use new technologies to circulate the findings and recommendations
emerging from this project.
(please see website for results of this meeting)
THE CULTURAL BARGAIN:
ARTS, COPYRIGHT AND THE PUBLIC INTEREST
Michael S. Shapiro
The arts are flourishing in America, but there is a growing crisis
in confidence regarding U.S. copyright law's historic role in fostering
creativity, rewarding authors, and benefiting the public. Individual creators
are worried that the copyright system may no longer be able to ensure
their livelihood as creative works are readily copied and distributed
over the Internet. Some authors and artists are concerned that creative
production will decline or end entirely if copyright's bundle of rights
continues to expand, fair use and other limitations on rights further
contracts, and creative works are placed under technological lock and
+ ATIP--National Assembly
+ Arts Disciplines--Mini Assembly
+ Business Models and Technology--Mini Assembly
Deals and Ideals: For-Profit
and Not-For-Profit Arts Connections 1998
+ The Arts and Public Purpose
+ The Arts and Government: Questions for
the Nineties 1990
+ The Arts and Public Policy in the U.S.
+ The Future of the Performing Arts
+ Art Museums in America
+ Cultural Affairs and Foreign Relations
EMBRACING A CLIMATE OF TECHNOLOGICAL TRANSFORMATION
In the new millennium, an industrialized society, a manufacturing and
service-based economy, and a Cold War-driven international relations system
have given way to an information society and global economy in which intellectual
property is a key resource. Much has been written and thought and predicted
about the technological developments that are driving this transformation.
Various sectors of American society, including business, communications,
government, entertainment, science, medicine, and education are racing
to accommodate these changes and to anticipate their consequences. However,
the nonprofit part of the arts and culture sector, although it encompasses
significant technological resources and content, is seldom more than an
afterthought in this transformation or in discussions of intellectual
property, of the national information infrastructure, or of the increasingly
technological global economy.
INNOVATION AS A CATALYST FOR CONTENT AND ECONOMICS
The arts and cultural sector has great potential to prompt further technological
innovations, to provide meaningful content as well as economic assets
through technology, and to disseminate creative and intellectual products.
None of this can be appropriately achieved without the close examination
of intellectual property issues.
SHARED CONCERNS AND SHARED CREATIVE ASSETS
Attention to this subject by nonprofits has been piecemeal and scattered
within the existing legal, technological, and policy frameworks. Though
individual cultural organizations, some discipline and trade organizations,
as well as ad hoc groups have taken up specific issues, these have been
relatively isolated from each other, reactive to external developments,
and unguided by a sectoral vision of the place and function of the arts
and culture in an information society or a technologically driven economy.
In contrast, various for-profit cultural industries have actively pursued
their intellectual property interests and technological opportunities.
Certainly, both the not-for-profit and the for-profit parts of the arts
and cultural sector share concerns about issues at the intersection of
art, technology, and intellectual property, but they often bring different
perspectives, priorities, interests, values, and resources to bear in
policy debates and development deals. Understanding both common causes
and varying interests is essential to the wise and productive development
of America's creative assets in the twenty-first century.
The American Assembly
475 Riverside Drive, Suite 456
New York, NY 10115-0456
phone: 212 870 3500/fax: 212 870 3555
***See (ASMP) American
Society of Media Photographers
Free Online - Guidelines and Checklists: Copyright Guide For Photographers
READ and RE-READ these
articles, the information is invaluable.
Part 1 Success is not earned, It’s created - EXAMINING YOUR WORK ETHIC
#8, October - December 2001
* Part 2 The way we see the world - DEFINING YOUR VISUAL INTEGRITY and
MAKING A COMMITMENT
#9, January - March, 2002
2001 Selina Oppenheim
article are a wonderful reference and reminder of helpful steps to achieve
Worth reading over and over