The American Society of Picture Professionals (ASPP) recently announced that Wendy Zieger is the 2014 recipient of the Jane Kinne Picture Professional of the Year award.
Cecilia de Querol, President of ASPP, said, “Wendy’s energy and enthusiasm for ASPP shone bright during her years as chapter co-president and member of the National Board. She worked hard to maintain a strong and active chapter and made it seem easy. It was always a pleasure to work with her.”
Cathy Sachs, Chairman of ASPP’s Board of Trustees, said, “During the time that I was the Executive Director of ASPP, I was immensely grateful for the loyal service that Wendy showed to the National Board and most especially to the Midwest chapter where she served as co-president for many years. Her reliability and creativity made her an invaluable member of the National Board.”
Wendy follows in the footsteps of previous award winners: Jane Kinne, Larry Levin, Anita Duncan, Niki Barrie, Nancy Wolff, Jerry Tavin, Danita Delimont, Barbara Smetzer, Cathy Sachs, Ed Whitley, George Sinclair, Judy and Roger Feldman. Award recipients are current ASPP members who have established significant contributions to photography, made a single outstanding achievement or provided continuing service to ASPP and its members.
The Jane Kinne Picture Professional of the Year award will be presented to Zieger at an ASPP Midwest Chapter holiday party, venue and date to be announced.
ABOUT WENDY ZIEGER
Wendy was born in Port Washington, Wisconsin. She attended Michigan State University and obtained her Bachelor of Arts Degree in Art History. After graduation, she married her high school sweetheart, settling in Grand Rapids. She worked in Customer Service at Blue Cross Blue Shield of Michigan, leaving to raise her growing family. In addition to being the mother of three, Wendy volunteered countless hours within the community, at schools, her church and The Grand Rapids Art Museum.
When her youngest was in school full time, Wendy enrolled in the Library and Information Systems graduate program at Wayne State University in Detroit. While getting her Master’s degree in Library Science, she interned at the Grand Rapids Public Library and then in London at the headquarters of Bridgeman Images. The internship in London opened up the exciting world of image licensing and was the perfect fit for her, allowing her to use her Art History and customer service background.
In January 2007, Wendy became Bridgeman’s first official remote employee. Wendy is now Senior Account Manager of the Bridgeman Images, which keeps her very busy.
Wendy joined ASPP’s Midwest Chapter in 2008. She was recruited to be co-president of the chapter in January 2010, a position she held until the end of 2013. With the Midwest board, Wendy put on several great education days and networking events, boosting the popularity of the chapter. She wrote articles for the Picture Professional and served on the National Board as the representative from the Midwest Chapter. And she did all of this in her spare time showing dedication to the ASPP cause, the likes of which have rarely been seen. Wendy continues to be a staunch supporter and advocate for ASPP. She still attends Midwest Chapter’s events and helps out when needed.
Michael Masterson and I ( Ellen Herbert) were speaking about the history of our industry. Again and again, one name came up as a leader and advocate for all things stock photography. And as a result, I asked Michael to interview Cathy Aron.
Cathy Aron has been the Executive Director of PACA, the Digital Licensing Media Association, since 2006. Prior to that she was a longtime member as well as the president. Her involvement in the image industry goes back to her childhood – literally. Cathy and I talked recently about her background and where she sees PACA and the industry today.
Michael Masterson: You basically grew up in this industry. Tell me about your father and how he, and later you, got involved.
Cathy Aron: Actually, my father, Nat Harrison, was a jeweler, but he was a frustrated photographer and had done photography during the war and after. He even had a dark room built at the back of our house. When he and my mother started traveling around the world, he took photos and would do slide shows at schools. When he needed fill-in and title slide images he used a place called Wolfe Worldwide Films in Santa Monica. They specialized in selling duplicate slides inexpensively to schools and individuals. In 1978, WWF was for sale and my dad decided to buy it for something to do in his retirement (which was a few years off) and he asked if I wanted to run it. I was raising my children at the time, looking at for a part-time something to do. So I traveled to Santa Monica everyday from Mission Viejo (about 60 miles and in California that can be forever!) for a few months learning the photography business before moving it to Mission Viejo. A few months after we took over the business, my dad suddenly passed away at 60 leaving a mortgage on WWF, a jewelry business, and a devastated family. I didn’t want my mom to be burdened with the business loan, so I took over WWF and realized that there was something else that you could do with the originals and I began learning all I could about the stock photo end of the business.
Michael: You had your own agency, Photo Network, for a long time. How did it get started?
Cathy: I found a partner, Gerry McDonald, who knew more than I did about the rights management part of the business and together we formed Photo Network. We built a nice general stock agency. She had a collection of images from a multimedia company called Pix Productions she and her husband had plus I had the travel images from WWF. Then we began representing photographers, selling mainly to ad agencies and developers. My partner died after about fifteen years, but I continued with Photo Network for 27 years.
Michael: You came to PACA at a very turbulent time in its history. How did you become the executive director?
Cathy: I was president of PACA after we fired our executive director in 2002. We realized she had embezzled a lot of money from the association. So, for two years I served as the president without an ED. It was a tough time for the organization but also an amazing time as everyone pitched in to save PACA, both monetarily and with their time and efforts. It did, however, take an incredible amount of time from my business. When it was feasible to hire an executive director again, I had just made the decision to sell Photo Network, so I applied for the job along with many others and was lucky to get it.
Michael: What are some of the things you’re proudest of during your time as ED at PACA?
Cathy: One would certainly be the organization, with Cathy Sachs, then executive director of ASPP, of the associations group. It was originally over the proposed Orphan Works Legislation, but we still continue to meet today. When we brought everyone together back in 2006 (I think that’s right) it was the first time we had gathered all the visual arts associations together in one room to discuss mutual interests. The participation and co-operative outreach of this group has enabled us to gain much more impact that each association would have individually. We have worked together on amicus briefs, statements for the copyright office and lobbying to the congress for legislation favorable to our industry.
I’m also very proud of pacaSearch that is the one benefit of our organization which directly benefits the business of our members. It’s the mega search engine that helps to level the playing field between large and small agencies allowing buyers to find the library that has the best images for theirs needs. It’s free to all PACA members. A recent survey by Visual Steam showed it came in as the fifth most-used site for buyers.
It’s also been wonderful working with Nancy Wolff and getting a much broader understanding of all the copyright issues and knowing that we have the best possible representation with her at the helm. Her expertise and standing in the copyright community gives PACA it’s best chance to make an impact.
Michael: What are some other PACA highlights during your tenure?
Cathy: Our PACA Conferences would be definite highlights. We have had some amazing meetings over the last few years and we’ve provided our members with excellent opportunities to learn and grow their businesses with the information provided at these events. Moving out of a hotel last year and teaming up with Visual Connections has given a new spark to the meeting and we are looking forward to even more exciting innovations this year.
Our efforts in copyright education and outreach to schools and the community have and remain a priority for PACA. Colleges and universities throughout the country as well as many high schools use our Power Point presentation.
Also, our efforts with the publishers to work on contracts that are equitable to both sides was rewarded this year with a contract with Cengage that we feel has great language and terms for agencies.
It’s also been great getting new people involved in the industry. I have always been a firm believer that you get back more than you give.
Michael: What issues is PACA addressing right now and what other major industry issues do you see?
Cathy: We’re still on top of the copyright office’s debate on a Copyright Small Claims. This is a vital discussion for the industry and we’ve responded to the Copyright Office’s three requests for comments on remedies with many of our suggestions included in their report.
We are also a complainant in the ASMP vs. Google Books case. We will be part of an amicus brief for the Authors Guild appeal vs. Google Books. We are working right now on Patent Trolling and engaging the agencies that have been sued by Uniloc. This is a very serious problem for our members and non-members alike and we are actively perusing ways to help them collectively find materials to fight these claims.
I think that piracy and copyright infringement continue to be the biggest issues facing our industry. Upholding copyright is the biggest challenge to all of us.
Michael: The organization has changed like so many other industry trade associations. Talk about the challenges it’s facing and how you and your board are dealing with them.
Cathy: Buy-outs and consolidations have been the biggest challenges to PACA in the last 5-10 years. Our association has definitely felt the impact of the closure of many of the smaller agencies. Newer tech companies don’t always feel the value of an association, but the board is trying to reach out to the newer players and give them benefits that will appeal to them. The issues that face our industry will impact all the people in the industry, no matter what their structure is, so it is important that we work together to protect copyright or there will be no business.
Michael: One last question. As someone who obviously loves photography, if you could choose one photograph to hang in your living room, what would it be?
Cathy: This is an impossible question. As Ron [Cathy’s husband] will tell you, I have a very eclectic taste in art. I love the photographs of Ansel Adams and Arnold Newman, Annie Leibowitz, Art Wolff, etc., etc. But I’m also drawn to the work of new artists. I love beautiful scenics and graphic black and whites. I could never choose just one!
Michael Masterson has a broad range of experience in marketing, business development, strategic planning, contact negotiations and recruiting in the photography, graphic design and publishing industries. In addition to his long experience at the Workbook and Workbookstock, Masterson owned and was creative director of his own graphic design firm for several years. Masterson has been a speaker or panelist at industry events such as Seybold, PhotoPlus Expo, Visual Connections and the Picture Archive Council of America (PACA) national conference. He is past national president of the American Society of Picture Professionals (ASPP). He currently heads Masterson Consulting, working on projects ranging from business development for creative companies and sourcing talent for them to promoting and marketing industry events as well as providing resume and professional profile services for job-seekers. He can be reached at firstname.lastname@example.org.
Visual Connections is heading back to Chicago on Thursday, April 24th to stage another networking and education event for image/footage buyers and researchers. The venue this time is the beautiful and conveniently located Ivy Room.
This is a unique opportunity to connect with existing clients and win new business from image/footage buyers in the Chicago area, home to the second largest concentration of buyers outside New York. Attending our last event (in 2012) were many of the major advertising and publishing companies based there, including: DDB, Encyclopaedia Britannica, ESW Partners, Feldman & Associates, Hallmark Cards, Houghton Mifflin Harcourt, Leo Burnett, McGraw-Hill, National Geographic Learning, Ogilvy & Mather, Pearson, and many more.
We are excited to be partnering with ASPP to build an engaging education program for the day and help us publicize the event to buyers.
With half of the available space already sold, Visual Connections is urging potential exhibitors to book promptly to secure a place. Pricing starts at just $990 (if booking before February 21), with a range of cost-effective advertising and promotion options available to non-exhibitors.
Moreover, while Instagram’s agreement includes the right to sublicense images, it specifically excludes the need to ever pay creators, regardless of the way the company may use or sell their work. The photographic community believes strongly that fair compensation for the creators of work is a vital component of a fair agreement.
Peter Krogh, ASMP’s Digital Standards & Practices Chair, said, ” As online services become larger repositories of intellectual property, power has shifted away from the user and toward the company provider. Unless changes are made by Instagram, we believe the terms will have a profound and negative impact on imaging professionals, publishers and general users.”
In the coming weeks and months ASMP, along with the other listed organizations, will continue to reach out to gain support in addressing these egregious terms before they become the industry standard.
PLEASE NOTE: PETER KROGH WILL BE SPEAKING ON THE INSTAGRAM ISSUE AT THE PACA 2013 CONFERENCE
Eugene Mopsik, Executive Director
American Society of Media Photographers (ASMP)
Phone: 215 451 2767
The winning image will be published in the ASPP magazine and featured on Alamy’s homepage. The student will receive a portfolio review and mentoring from industry experts. Open to all undergraduate and postgraduate students.
All entrants must be students and all entries will be submitted through Alamy. Every entry will be part of Alamy’s 100% royalty student project, where students will earn 100% of any licensing revenue generated from their images, without Alamy taking any commission.
The theme, “My Town, My Way,” was chosen to spark the imagination of students who either stayed in town for the summer or who moved to new cities to continue their education.
Alan Capel, Head of Content at Alamy, shared his enthusiasm about the project. “We’re anticipating a real range of imagery. We want to know how students feel about their town. We want to see their insights and emotions,” he said. “Even if we have 20 students submitting images of the same place, they should all be different.”
Michael Masterson, ASPP’s National President, added, “We are delighted to partner with Alamy on this competition because we are both committed to supporting students and emerging talent. The ASPP offers a free one year membership to graduates in photography and related fields to give them access to the networking and educational opportunities we offer. This competition is another way to reach that audience.”
Closing date for the competition is Saturday, September 14, 2013. Entries will be judged by a panel of industry experts including photographers, art directors and photography professors.