Gado Images is a San Francisco based company that works with archives worldwide to help them digitize and monetize their visual history. In celebration of Black History Month, Gado Images’ research staff handpicked some of our best archival and contemporary editorial content providing extensive coverage of African American History topics. Our images cover topics ranging from pre-history through slavery and the Civil War, into the civil rights movement, African-American artists and entertainers of the 20th century, all the way up to modern movements like Black Lives Matter. Read the entire article here.
Gado Images is a San Francisco based company that works with archives worldwide to help them digitize and monetize their visual history. Our partner collections include Johns Hopkins University, the Afro American Newspapers, Silicon Valley Historical Association, and Stuart Lutz Historic Documents. Through partnerships with leading media organizations including Getty Images, Alamy, and Universal Images Group, we distribute our archives’ content to twenty-plus marketplaces around the world.
In celebration of Black History Month, Gado Images’ research staff handpicked some of our best archival and contemporary editorial content providing extensive coverage of African American History topics. Our images cover topics ranging from pre-history through slavery and the Civil War, into the civil rights movement, African-American artists and entertainers of the 20th century, all the way up to modern movements like Black Lives Matter.
The images come from some of the top African American History archives worldwide. Specific collections include more than 11,000 images from the Afro American Newspapers, as well as more than 600 portraits of African-American life at the turn of the century from Johns Hopkins University, entertainment images from the Clarence Gatson collection, and a variety of materials from our Smith Collection. We also have a small but important collection of footage documenting African-American life since the 1950s.
Gado Images has gathered a unique gallery inspired by the recent film Hidden Figures, documenting African Americans in STEM fields, from George Washington Carver to the present day. You can see all our images of African-Americans in STEM fields here: http://www.gettyimages.com/collaboration/boards/VP1n3olOvUuaToD6HGu0Pw
In addition to our African American History content, Gado Images has unique materials from a variety of partners, as well as our own archive in San Francisco. Our collections have strong coverage of science, medicine and technology, 20th century Americana, and the Vietnam War. Our staff is available to field research requests, and we can generally turn around requests in as little as 24 hours. If we don’t have a particular artifact in one of our collections, we can often even acquire the artifact for a request, digitize it at our lab in San Francisco, and have imagery available within one week. All of our research services are free of charge.
For specific research requests for Black History Month and beyond, please don’t hesitate to contact us at firstname.lastname@example.org.
To receive the latest archival and contemporary editorial content from Gado Images, please sign up for From Our Archives newsletter – http://eepurl.com/cw1caz.
To learn more about Gado Images and partnering opportunities, visit www.gadoimages.com.
DMLA together with various other visual arts associations (what we are loosely referring to a Coalition of Visual Artists –DMLA, APA, ASMP, GAG, NPPA, NANPA, and PPA) filed a joint response to a proposed rulemaking by the Copyright Office on Group Registration of Photographs.
The proposal seeks to establish new online registration procedures for groups of unpublished as well as published photographs. The proposal was quite in-depth, including an extensive history of group registration of photographs regulations and the requirements for a new proposed system. In general the coalition was in favor of improving the electronic registration process for registration of all photographs, but had some recommendations for the Copyright Office on as to how to improve the proposed system.
Universally, everyone agreed that the arbitrary limitation of 750 images per registration would be burdensome to visual artists and would discourage registration. This limit would be unworkable for many photographers who register all the works in an assignment in one application, and is much lower than the number of images submitted by many members of DMLA when submitting database registration of images uploaded to websites. In addition, the Copyright Office proposal specifically would discourage this database registration in favor of the group registration of unpublished and published photographs regimes. Database registrations were specifically crafted by the Copyright Office at the request of DMLA to assist DMLA members register photographs on behalf of contributors before ingesting them into their database for licensing on the web based platforms. The DMLA’s legal committee, and in particular Dan Pollack, Masterfile’s attorney assisted in responding to that aspect of the proposed rulemaking and expressed DMLA’s concern as this registration has been a key factor in many successful enforcement programs to deter infringements and encourage licensing.
The Coalition also urged that the provision to permit group registration of unpublished photographs and published photographs be expanded to include all forms of visual art, regardless of format, whether photographs, illustration or otherwise.
Other recommendations related to improving the application process to be compatible with typical visual artists’ workflows and promoting the use of APIs that may be developed to allow the seamless registration of photographs and visual artworks, and that both published and unpublished photographs can be registered at the same time.
The joint response was a result of corporation of all the associations and was quite extensive. A copy of the full response can be found here (you’ll have to scroll down to Amicus Briefs and Notices of Inquiries). This is a great example of the joint efforts of the various visual art association coming together with one voice. The Copyright Alliance also adopted the position set out in the coalition of visual artists’ response to the proposed rulemaking as well.
On January 30, 2017 DMLA Digital Media Licensing Association) joined with the other members of a Coalition of Visual Artists (APA, ASMP, GAG, NPPA, NANPA, and PPA) in a joint response to the House Judiciary Committee with comments to the first proposal by Chairman Goodlatte and Ranking Member Conyers “Reform of the U.S. Copyright Office.”
After months of hard work to reach consensus and a united voice, our comments, entitled “Creating a USCO Capable of Succeeding in A Changing World”, begins “Collectively, all members of the signatory associations depend on effective copyright protection and enforcement for their livelihood.”
Read all about it here with a link to the full comments.
Trevillion has some exciting news for book publishers: from today, we can now offer on-line image availability check!
As you know, Trevillion offers some of the best Rights-Managed images on the market, and if required, they can be licensed on an exclusive basis.
But now publishers will be able to check for image availability on our website at any time. And they will be able to see previous sales, and the restrictions that apply when they click on any image (see layout below).
We know that you will find this new function useful! But if you have any questions, please just contact us anytime on email@example.com
The stock photography world is changing fast, and constantly throwing up new challenges. robertharding – a high-end, world leader in travel imagery, is taking a pioneering approach to creating new and exciting ways of working, meaning that the work of the new generation of photographer can find the new generation of image buying client in the easiest way possible.
In today’s climate many clients pay for convenience, and they demand a user-friendly licensing experience, as well as a more immediate, integrated way to pay for the images that they need.
Our customer licensing experience for buying images and video is a much simpler, more streamlined process, adapted to the needs and capacities of our clients with fast moving deadlines.
Using a clean and intuitive interface, customers only need a couple of clicks to buy an easier-to-understand ‘good to go’ license adapted for their projects. This is designed to improve the experience for both the seasoned and non-experienced picture buyers that find themselves sourcing imagery in today’s market.
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In the last of our series of last year’s award winners, we look into the dedication of our member, Sonia Wasco, Past President, and still an active volunteer for DMLA. She was the winner of the Lifetime Achievement award last year and it was more than well deserved! Most president’s serve their term and a year as Past President and then move on. But that isn’t the case with Sonia.
What has been your role over the years at PACA/DMLA?
I began working at Grant Heilman Photography in the spring of 1986. Grant Heilman, Jane Kinne, and Bob Roberts were good friends and confidants who spoke regularly by phone. Before the end of the year, they had me signed up for my first New York City PACA meeting and sharing conversations with Susan Turnau. At that time, she owned and operated Miami based Sharpshooters stock photo agency and was the chairperson of PACA’s Ethics and Grievance Committee. I became a member of the committee along with Bob Zentmaier from Photo Researchers (now Science Source) and quickly found myself surrounded by some of the best ‘Movers and Shakers’ of the stock agency world. I could not help being impressed and motivated to be successful like them. I served on the Ethics and Grievance Committee for six years before moving to Chairperson for another six years. From 2000 to 2002, I served as President, a role that became extremely challenging as PACA found itself without an Executive Director and in difficult financial straits at the end of my term. I take pride in being part of the team of strong PACA leadership who helped to rebuild and bring the organization out of the brink of destruction. Then PACA President, Patrick Donahue (Corbis); Vice President, Cathy Aron (Photo Network) (these two offices switched places shortly after elections); Secretary Dexter Lane (Peter Arnold); Treasurer, Doug Segal (Panoramic Images); Members at Large, Jeff Burke (PictureArts) and Roger Ressmeyer (Getty Images) along with Jeff Shultz (Alaska Stock); Sharon Dodge (Illustration Works); Nancy Wolff (PACA Council); Bob Roberts and Roberta Groves (H. Armstrong Roberts); Jane Kinne (Consultant) and Chris Ferrone (Retrofile) spent many hours re-writing the PACA Bylaws and Operating Manual and running the organization. Special note needs to be given to these dedicated individuals who I believe saved the Association from demise. PACA’s Executive Office of Past President also was quite memorable for me. Following my term as President, the next four Presidents left the industry following their terms and I was asked to step back on the Board to fill the role of Past-President. We often joked that my office was unending. Lately, I have served on the Program Committee for conferences and as Nominating and Elections Committee chair.
What does winning the lifetime achievement award mean to you?
It is extremely humbling to receive this award. So many PACA/DMLA members over the years have given so much to the organization. I have met incredible people and made life-long friends with other members from all around the world through my experiences with PACA/DMLA. To be recognized by my peers with an award of this nature for something that I have enjoyed doing for nearly 30 years seems overwhelming. I have the deepest respect for those PACA/DMLA members who have served before and after me and feel very privileged to be the recipient of the first Lifetime Achievement award. Perhaps it has something to do with being the Past-President for so many years? I certainly hope it doesn’t mean I am getting put out to pasture!
Looking back at the organization’s success, which contributions of yours are you most proud of?
As each new PACA/DMLA President comes into office, they establish goals they want to achieve. When I became President in 2000, the photo industry world was very fractured among the different photography related associations. No one trusted what each other was doing, and I was troubled by this. I set out to mend the issues that drove us apart. We began inviting other associations to our meetings and opened discussions among us. These steps resulted in much healing and mutual efforts that benefited photographers. I also had a personal mission to visit or talk with every PACA member during my term. I was so impressed by what my colleagues were doing and how great their individual companies operated. I left the office of President a richly inspired person. Over the many years of my involvement with PACA and now DMLA, this inspiration has been what has driven me to stay involved and want to jump in with both feet to work to get things done!
What have you been working on for this year’s conference and what are you most looking forward to?
This year, I am responsible for the visual effects of the conference in Jersey City. Last year we worked hard putting together an outstanding program and this year’s committee has done a fabulous job on the session development. I felt one of the areas that could be improved from last year was the visual projections and signage for the conference so I volunteered to take that on. With the inspiration of Doug Dawirs and help from my Grant Heilman Photography colleague Josh Slaymaker, we have put together a new format to inform attendees of what is happening and what is coming up next. I hope everyone enjoys the polished look this will add to the conference.
You studied animal science and agriculture in college. How did you that transition into a career in stock photography?
By never closing a door. When I graduated from Delaware Valley College (now University) I was looking to go to grad school to study veterinary medicine. Just prior to graduating, Penn State University came to our graduating class and dangled teaching jobs in front of us because they did not have enough certified teachers of agriculture to fill open positions. My degree from Delaware Valley was in Large Animal Science with a minor in Small Animal Science. I took Penn State’s offer of a guarantee to teach in September if we took their summer intensive studies in Education (and went on to get a Master’s in Agriculture Education) and found myself teaching high School Agriculture at Shippensburg. Following this six month position, I was hired to teach Agriculture at Warwick High School in Lancaster County. One of our science teachers who did science research and experiments for Grant’s science photos gave him my name as a candidate for an opening for the Director of the photo library. Grant flew in from Colorado for my interview and I was the lucky candidate to be offered the job. Grant wanted someone who could ‘talk agriculture’ as 60 percent of the company’s business was supplying images to the animal health and crop advertisers and magazines. The other sector of business was the high school science textbook market. My ten years of teaching agriculture couldn’t have given me a more perfect background for working with the clients that purchased images from our collection. Grant was also looking for someone to run the business as he incorporated and transitioned to retirement. In 1987, I was named Vice President of Grant Heilman Photography, Inc. I was promoted to President and COO in 1995. Over the years I received stock bonuses and purchased additional stock whenever possible. In 2011, I purchased Grant’s final shares of stock as he officially retired from Corporation to officially become the owner of the company. One of my fondest PACA memories was watching Grant receive the PACA Member Emeritus award in 1996. He was one of the most inspirational people in my life, and I was so fortunate to receive that phone call back in 1986 that put me in touch with him. I know I speak for the many people who have had the opportunity to stay that he enriched their lives by knowing and working with him.
As always we’re pleased to confirm that Abbie Enock, CEO of Capture, will be treading the boards at the DMLA conference again this year, talking about Capture ROYALTIES – a subject that may be dear to many at the event.
Rolled out during the year, the module adds to the range of cloud-based out-of-the-box technology “building blocks” that address each stage of the digital media licensing workflow, and that make up the sophisticated Capture Platform.
ROYALTIES can be rolled out rapidly and provides an easy and cost-effective solution. Customers already think it’s great – ‘‘I cannot tell you how much I love working with the new royalty database from Capture…,’’ said Valerie Saunders, Tetra Images.
“We have been using Capture’s royalty database software for a year now and have found the system to be very finely tuned for our image licensing business.
“We use the database for tracking royalties, payments, and paying commissions to our photographers (Many photographers, many distributors, many payments coming in and out). We have also been able to create reports for tracking best-selling imagery, best-selling territories, trends, etc.
“Capture has created software that manages every conceivable issue so that our finances are clean and clear and even our photographers have a great interface for tracking their own progress.
“Capture’s support for getting on board and maintaining all functionality has been excellent. Our needs are always met quickly.
“We are enjoying a royalties database that allows for transparency and accuracy that is a much higher caliber than systems we have used elsewhere and the pricing is very fair.
“Once again, Capture has proved to be a genuine partner in creating and supporting our needs as a digital content supplier. I am a very happy and grateful customer!”, said Valerie.
Abbie will be at Visual Connections (#B36-37) and DMLA (table 13) if you would like to discuss any aspect of Capture’s technology or services. Contact: firstname.lastname@example.org
Blend Images, the world’s leading multicultural stock photography agency, announced today exclusive representation of the Built Images stock library. With over 25,000 property-released photographs of contemporary commercial and residential architecture, interior design and home lifestyle, the Built collection is one of the most comprehensive and diverse image resources of its kind available for use in advertising and graphic design. This unique collection represents work from more than fifty of the top architectural photographers from the United States and around the world.
“Built Images adds still more depth to our extensive collection of architectural content. Property-released architectural imagery can be difficult to source. So we’re excited to be able to offer this world class image library to our clients in a convenient, Royalty Free format,” says Blend Images CEO, Rick Leckrone.
About Blend Images
Blend Images is one of the largest independently-owned stock photography agencies established by top commercial photographers. As the world’s leading collection of diversity lifestyle imagery, Blend also offers high quality creative content in the categories of business, medical, education, industry, travel, architecture, and food. Currently offering over 340,000 images and motion clips online, including royalty-free and rights-managed collections, Blend celebrates ethnic and cultural diversity throughout its unique imagery. Creative professionals can search, license, and download imagery and motion clips directly from http://www.blendimages.com. Blend Images is based in Las Vegas, NV with offices in Seattle, WA and Culver City (Los Angeles), CA.
About Built Images
Built Images, founded by Jonathan Thomas, is a leading architectural stock media company with offering over 25,000 property-released images for commercial licensing. Built Images is based in San Clemente, CA. http://www.builtimages.com