Gordon Kaye, GDUSA – Part 2 – continuing the conversation

Michael and Gordon pick up where they left off last week.


Michael Masterson: What drives you and GDUSA? What’s your passion?

Gordon Kaye: We still believe in the power of print and I am awed by the critical role that graphic designers can play in shaping commerce and culture. As long as those two things exist, we will be here in some way, shape or form.

Michael: Because the magazine touches on so many areas of design, what trends do you see in the industry?

Gordon: I am not a designer and, so maybe not the best person to ask this question. I will say that the digital revolution has clearly put web design into the very top tier of how designers earn a living (along with print and package design and promotion). Moreover, as the technologies become more sophisticated, designers are being called upon to up their game — UX design, interactive design, motion graphics design are all becoming important and in-demand professional skills beyond web design. A couple of other thoughts: the digital wave and the increasing move to mobile is forcing designers to simplify their logos, identities and designs for readability and communication on smaller and smaller screens; and I have noticed that the free and open digital exchange is encouraging more unique color use and color exchange.

Michael: Can you tell us a little bit about the American Graphic Design Awards?

Gordon: This is our flagship competition, around for five decades. It is an interesting way to give designers recognition and for everyone to see trends and what is successful. In keeping with our collective temperament and market positioning, we try to make this competition as open, welcoming and democratic as possible. People really like the design annual that comes out of it each year, and we have spun off a couple of targeted competitions to delver deeper into areas of opportunity such as our American Inhouse Design Awards and American Package Design Awards. I also like to think that these competitions help encourage designers — and clients — to strive for great work. Professional graphic designers and commercial printers understand instinctively that effective design is a powerful tool for commerce and culture. My fear is that clients—battered by tight budgets, under pressure for quick turnarounds, steeped in a digital culture, and less educated in the craft of graphic arts—too often understand the cost of everything and the value of nothing. In contests, I look for the pieces, projects and campaigns that define the design problem and craft a thoughtful, strategic and relevant solution. If we’re lucky, it might even be beautiful. Such projects exist; you just have to look harder. Such clients exist; you just have to look harder.

Michael: What blogs, podcasts, Instagram or Twitter posts do you follow?

Gordon: Podcasts such as Debbie Millman’s Design Matters, The John Batchelor Show.

Blogs including Design Observer, Brain Pickings, Grain Edit, Swiss Miss, Brand New Logos, Dexigner, The Die Line, The Creative Group and Real Clear Politics. And on Instagram I like Pantone, AIGA, Stefan Sagmeister, Jessica Walsh and Timothy Goodman.

Michael: Finally, what might people be surprised to know about you?

Gordon: A few things. I have run several marathons and, even at my advanced age, I run 5 miles every single day. I am very involved in my alma mater, Hamilton College, currently as President of the Alumni Association, because I believe in the institution and in the power of a traditional liberal arts education. The College just went to need-blind admissions which means more students of diverse backgrounds can afford a first-rate education. Finally, in a city, profession, community, family and company that skews politically left (to say the least), I am a registered Republican. I believe there is a socially liberal, fiscally conservative, pro-economic growth path to a kind, fair, vigorous, and successful society. I am trying to figure out whether “compassionate conservatism” can really work. Most everyone I know thinks I am crazy. Maybe so.



Screen Shot 2016-05-10 at 3.35.52 PMMichael 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 michaeldmasterson@gmail.com.

Less a mystery and more a love story; Gordon Kaye, GDUSA and Publishing

Gordon Kaye has long been a supporter of and friend to Visual Connections. Finally got the busy man to be interviewed by Michael Masterson. This week, Part 1:

Gordon Kaye is editor and publisher of Graphic Design USA (GDUSA) magazine. He joined GDUSA in 1990 after a first career as communications attorney for a private law firm and then for the NBC Television Network where assignments included NBC News and Saturday Night Live. He received a B.A. from Hamilton College, and a joint degree in Law and Public Policy from Princeton University and Columbia Law School. He lives in Manhattan with his wife Susan, an art dealer turned reading specialist teacher. He has two grown daughters.


Michael Masterson: You were an attorney working for NBC handling intellectual property and regulatory issues. What led you from that to publishing?

Gordon Kaye: It is less a mystery than a love story. Yes, I had an interesting law career; first working for a large Wall Street law firm representing publishing and advertising clients. Then I moved in-house at NBC, the television network, practicing media, communications and entertainment law, as well as appearing on the set at 30 Rock to vet Saturday Night Live for potential legal problems. On paper (and at cocktail parties) my legal career looked pretty good.
But here’s the rub. Starting in the early 1950s, my father worked at or owned various design, printing and ad industry magazines. Even as a young child, I came to love the feel and smell of print, its beauty and power. And though my father was not a designer, nor am I, we both shared a respect—make that fascination—for the ability of graphic artists to tell a story, sell a product, advance an idea. I never got over that feeling, and most days as a lawyer I fantasized about being a publisher. On the other hand, participating in a small family business is fraught with problems, and so I pursued my own career. Then my dad’s ventures hit hard times; by 1990 his business was essentially a shell. I jumped in to try and turn things around—maybe for a year or two, with no particular skills, just a passion for print. Luckily, passion—and lots of sweat—has been enough. Nearly a quarter century later, I wake up every morning anxious to get to work because publishing is fun, challenging, stimulating, meaningful. How many lawyers do you know who feel that way?

Michael: Graphic Design USA (GDUSA) has been around for 50 years. Can you talk a little about the changes in the magazine and publishing industry since you took the reins in 1990?

Gordon: Some of the changes are obvious, most particularly the transition from analog to digital production in type, film and layout. The more fundamental change is the role that a “trade magazine” plays. We were once the gatekeepers through which information flowed to, from and among the community, and to and from vendors. That gave us a lot of influence. Today, we are only one of many ways that people and companies and products and services can connect. That has serious ramifications on the editorial content we need to provide to remain relevant, and it has serious economic implications that all magazines are grappling with. What is your reason-to-be and what do you bring to the table? In that sense, all magazines have to ask those questions.

Michael: What do you see as the direction for GDUSA going forward in the next five years to stay relevant and competitive?

Gordon: These days, as much as I believe in print, no magazine can stand alone; our company lives because we also deliver information and have income streams from our website which is newly redesigned and which I love, from e-newsletters, blogs, sponsored content, several design contests, a digital flipbook edition, and other activities. Integrating print with digital media is absolutely necessary, and the real challenge is to figure out what works on the digital side and what can be monetized so that you can sustain the business. No one, not even the big guns like The New York Times, has fully figured this out. I have not, but hope springs eternal and the joke/mantra in our office is “Last Magazine Standing.”

At the same time – at the risk of being boring and repetitive – the print version is still the brand; it gives us the gravitas and provides the authenticity. I am investing more in design and production elements because the brand matters, and the experience of receiving GDUSA had better be special and memorable. While many publications are shrinking or stopping, we are generating lots more pages, on heavier paper stock, with better design than ever. I have no deep pockets and no secret sauce. I simply start from the fundamental belief that people still love print for its classic strengths—touch, feel, permanence, portability—and that a magazine can stand out from the digital noise IF it delivers relevant content and high production values.



Next week, Part 2!

The Man Who Took Films In – Huntley Archives

Archivists young and old appreciate the value of deep research and access in this era of shortened attention spans and rushed internet searches. Huntley Archives has always been known for holding unique, quirky or unusual films within a vast and growing collection. Office Manager Bronwyn Neal was kind enough to chat in-depth with us recently.

The founder of Huntley Archives, John Huntley had a fascinating career, starting with him working for Alexander Korda, writing film reviews for the RAF, and establishing a 23-year associations with the British Film Institute. Can you talk about how he and his daughter were prompted to form the Archives?

John Huntley had been collecting films from 1945 and built a sizeable private collection.  Production and television companies came to know of John as ‘the man who took films in’ and donated their collections to him.  His daughter Amanda remembers growing up in a house in London where kitchen cupboards were full of film reels; and the staircase was only half width as her father efficiently used the stairs as additional shelving. John used the films to illustrate his talks on a variety of subjects, and toured the world with such shows as cinema in Australia, cricket in the West Indies, and the transport of London.

At the same time, John’s phone started to ring with enquiries for documentary film clips to illustrate television production and Amanda joined her father to run the sales division.  British television channel Channel 4 commissioned a whole range of quality history documentaries.  Huntley Film Archives supplied footage and sales grew rapidly.  Over the intervening thirty plus years licensing requirements have expanded into a wide range of television, corporate, educational, feature and museum needs; and the Huntley team supply footage for documentary and entertainment productions alike.

You have a collection that covers over 100 years of Social History in all aspects. How do you find your material?

Unlike the majority of libraries which have a specialist field of interest – sport, or natural history or news being prime examples – Huntley has been entirely eclectic in its collections.  We combine the best of the ethos of the public and private sectors and preserve all films whilst needing to be commercial and make these films available. This has meant a very wide range of long-retired producers have lodged their films with us. They know their films will be protected and cared for in our preservation vaults.  New (old) collections arrive at the archive every month and whilst the core of the library is set between the 1890’s and the 1970’s we now hold over 5,000 hours of tape from feature film production from the last 20 years.

Tell us a bit about how you look after the collection – storage, cataloging, etc. Do clients ever come to your facilities to search?

Our films are stored in a temperature and humidity controlled vault to preserve them as best as possible. Our 80,000 + films are logged on our in-house database with all the pertinent information, such as date, category, title, format, language, origin and most importantly a detailed synopsis that describes the footage. It is this synopsis that our customers can search on our website and enables us to match films with our researchers’ requirements. We welcome clients to our premises; but our online database search facility has over 14,000 digitised clips for viewing online and we  provide free research to help customers find what they need.

I see that you offer film archiving classes – great service and much needed. How are they structured and taught? I would think that a lot of researchers seeking you out would need a crash course in working with archival materials.

We offer a range of courses, which prove popular with people from different backgrounds.   These could be people new to the industry, or those seeking a change of emphasis – perhaps they have been in production and now they want to work on the other side.  We teach the practice of film archiving – it is next to impossible to find practical information on this outside our courses – and this year’s London-based course has a five week classroom element backed by work placements at leading industry institutions. There is clearly a great need for enthusiastic archivists and librarians to learn about film and last year’s students have all entered the industry, attaining positions with Sky News, the BBC, the BFI and other leading companies. Huntley has a proud history of preparing and introducing new talent to the industry; and previous delegates have gone on to work in a variety of film and archive-based jobs for such bodies as the European Space Agency, the Bosnian Film Archive, ITN, for producers in the U.K. and Canada, and in archives in Israel amongst many more.

Our next available courses are aimed at media professionals who are seeking insight into the archive world, but are short of time. Hence we are offering two 1-day beginners’ courses at the BFI in London in October 2016.

Some of your favorite clips would be?

I love seeing places and everyday life and just how social history and fashion has evolved. Some great examples are:

http://www.huntleyarchives.com/film/94954   1900 in Paris, the first travelator!

http://www.huntleyarchives.com/film/95055 Berlin 1920s streets

How do you compete and find your clients?

Huntley Film Archives is one of the largest of independent film archives in the world, stands alone and values its independence.  The lead researchers in the company have worked for Huntley for more than 25 years and know the archive inside out. Databases are all very well, but talking to a librarian who knows the collection will generate so much more than a simple online search. Nuance, feeling and subtlety are needed when searching for those tricky shots.  Fewer libraries mean less choice for the customer. Currently in development, and launching later in 2016, is our online portal; where clients can download master files for their productions. See our You Tube Channel, HuntleyHD, for an idea of the films that will be available via our own shop.

Is there a memorable project that comes to mind?

One of our recent projects was a lovely piece of footage about Japanese workers and family life in Tokyo in the 1960s, provided for Japanese TV. It was surprisingly to think that such footage couldn’t be sourced locally by Japanese TV producers, but I guess this is a good indicator of how worldwide our collection is.

Please add anything that you would like the readers know about the Archives.

Our ethos is traditional and old-fashioned but our delivery methods are current.  We really are a film archive – all our films dating from the 1980’s and earlier remain on the original 35mm, 16mm and amateur gauges.  Client technical requirements change yearly, and we have always found going back to the original source material to provide a new master is what the client really wants. We can provide the quality to suit any requirement.

Huntley Film Archives Logo Best


footageMarketplace Pulls in the Professionals

by Julian Jackson

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footageMarketplace, the London event aimed at the footage industry is now in its 6th year. Always held in the prestigious HQ of BAFTA in central London, it is similar to US expos staged by Visual Connections, albeit with more emphasis on footage – although increasingly stills collections supply motion material too now. This year, production music libraries also attended, and a new feature was four well-received seminars on different aspects of the industry.

Thirty-five agencies and industry service organisations exhibited in the congenial David Lean room. Some agencies had come from Europe, like Sonuma from Belgium, or SVT from Sweden, and large international vendors such as Getty Images, Shutterstock and Adobe were in attendance. UK stalwarts like robertharding, Science Photo Library and NaturePL, were there, along with industry service providers like Capture, and trade association FOCAL International.

This is one of the few events in the UK where professional buyers and sellers of footage can meet face to face to make deals and network. It also is useful to find out what is happening generally in the industry and how specific footage agencies are faring.

This year, for the first time, production music was included. Phil Hope, Group Managing Director of Cutting Edge Film Scores says, “We have a fantastic library of film music from feature films and TV that was produced over the last 6 or 7 years. We have all rights for usage. We work on 30-40 feature films per year so the library is growing very fast.” Phil adds, “We saw footageMarketplace as an opportunity to connect to a different sort of user. We are very well connected to advertising agencies, trailer houses, the traditional users of film score music. We came here to find producers and other users, who would equally well find value in our music.” Other production music libraries included Soundvault – which has funding to create an interesting universal metadata tagging system similar to the Bitcoin blockchain – which may help clarify licencing issues, and Soho Production Music.

A new agency exhibiting for the first time this year was LOLA Clips. This stands for London/Los Angeles – their twin bases of operation. They are bringing high-quality footage content to the marketplace, including aerial drone, news, historical clips, 35mm and 4K. Joint CEO Sandra Coelho says, “We are a boutique agency – we curate all our clips, so there are 10-20 thousand on our site, but they have all been chosen carefully to go up there. Each of our suppliers has a Partner Page so you can see what type of material they have. We’ve just taken over the London Live collection (a cable TV station) which has all sorts of stories about London you won’t find elsewhere.”

Major archives like the BFI and Imperial War Museum were well represented. Budget cuts mean that publicly-owned archival organisations need to be imaginative in their clip sales and licensing in order to survive. They have a remit to preserve material and that costs money, especially if it is in danger or needs urgent restoration. An archive source who didn’t want to be named said that they were aiming to maximize their clip sales to make up for lost government revenue. Paul Johnson of ITV Sport Archive said that their main issue was deteriorating old videotape formats (such as 1” and Betacam) and having to keep aging, obsolete tape machines going, when spare parts are no longer manufactured.

Barbara Rodriguez, of Sonuma, which is a collection of Belgian public television content going back to 1956, said that their reason for coming to fM was to expand their reach in the English-speaking marketplace, “We came to have more contact with UK freelances, because they work on several projects, and have wide contacts in the industry.”

Adobe were there for the first time. Since their acquisition of fotolia in 2014 they have moved aggressively into the stills space, and are adding clips, although footage is probably less than 10% of their collection of 52 million “assets”. Because of their links with the creative community, they are able to build their collection rapidly.

It seems that the industry in general is recovering from the downturn somewhat. It’s always difficult to tell, but there was an aura of cautious optimism. There is definitely a premium marketplace for 4K clips, even though HD would really be adequate for nearly all usages. Most agencies I asked said they got requests for 4K. Big screen events need that format, together with feature films. A few demurred, like Raw Cut (which does lots of police dashcam and CCTV footage) so does not get asked for larger format material. Interestingly they have just linked up with the Born Free Foundation to market their clips of animal rescue.

Four cutting edge industry seminars ran during the day, from thought-leaders like Peter Stower – Content Partnerships, Google / YouTube, Global, and Simon Gosling – Creative Evangelist, HappyFinish, talking about the future of VR.

Bob Prior, publisher of StockFootage and StockIndex online and organiser of the event says, “In our sixth year, this was the most successful footageMarketplace so far. A major contributing factor was the seminars, which were highly rated, most attendees giving them an eight or nine out of ten. We chose subjects which would be stimulating to industry professionals and they were highly regarded.”

He adds, “We will definitely be doing more seminars next year, but we always try to do something new to improve each event, rather than just stay the same all the time.”



juliancoffeshopcuJulian Jackson is a writer with extensive experience of picture research, whose main interests include photography and the environment. His portfolio is here: https://julianj.journoportfolio.com/ He also runs a Picture Research by Distance Learning Course www.picture-research-courses.co.uk.












The Surgeon Behind The Knick: Interview with Dr. Burns

We are so pleased to present this interview with Dr. Burns – much gratitude to Sonia Epstein, author and Executive Editor, Sloan Science and Film. This article is republished with permission from Sloan Science & Film, an online publication reporting on all things science and film, published by Museum of the Moving Image and funded by the Alfred P. Sloan Foundation (New York).

Dr. Stanley B. Burns lives in a multi-storey townhouse in Manhattan with yellow walls and hundreds of thousands of photographs—from Nazi policemen who killed the first Jews during World War II, to the complete nervous system of a female patient, to the operating theatres of the early 20th century, to a surgeon reaching his hand into a patient’s chest, to a man with his skull cut open and brain exposed.

Dr. Burns has the largest private collection of medical photography and historic photographs in the world—over one million. It is all housed in his home, The Burns Archive, drawers open to reveal pocket-sized daguerreotype portraits framed in gold, and wall panels slide back exposing shelves of medical journals and photographic albums sorted by type and color. There are old vials of medicine, such as cocaine.



An ophthalmologist who first trained as a general surgeon, Dr. Burns took over the practice of a Nazi-era doctor who was the head doctor in the Berlin Police who came to New York, married a Jewish woman. When Jewish people came from Berlin to New York many became his patients. Dr. Burns is still a practicing doctor as well as Clinical Professor of Medicine and Psychiatry at NYU Langone Medical Center. He has published 45 books, most recently the seven pound book Stiffs, Skulls & Skeletons: Medical Photography and Symbolism. He has consulted on hundreds of documentaries, and recently his archive has been brought to life in two television series: HBO-Cinemax’s THE KNICK and PBS’s MERCY STREET. He and his daughter, Elizabeth A. Burns, were on set–in New York and Richmond, Virginia–for both shoots. He served as the Medical, Historical, and Technical Advisor, and she as the Photographic Archivist and Associate Medical Consultant. Dr. Burns trained the actors in both shows in surgery and period medical attitudes. Just about all the surgeries recreated on THE KNICK Dr. Burns has performed at some time. MERCY STREET borrowed his collection of Civil War surgical instruments for use on set.

MERCY STREET, supported by the Sloan Foundation, has premiered its first season. Science & Film previously interviewed showrunner and writer David Zabel and executive producer David Zucker. THE KNICK has aired two seasons and is planned for four more. Created by Jack Amiel and Michael Begler, the series is directed by Steven Soderbergh and stars Clive Owen.

Science & Film visited Dr. Burns, his daughter Liz, and son J at The Burns Archive in the late afternoon on April 20. We talked with Dr. Burns about MERCY STREET, THE KNICK, and his collection.

Science & Film: What were the most important medical innovations during the Civil War, when MERCY STREET is set, and at the turn of the century when THE KNICK is set?

Stanley B. Burns: R.B. Bontecou was one of the only surgeons who took photographs during the war of wounded soldiers to show the results of treatment. He developed bone excision, which was to cut out a piece of the upper arm bone and simply sew the skin up. The problem was, you then had a useless arm, which was worse than no arm because it always got in your way. You couldn’t move it–you could flail it around. After the discovery of antiseptic principles in 1867 by Joseph Lister in England after the Civil War, most of these arms were cut off. Even then, very few doctors practiced antiseptic techniques, as was witnessed by killing of President James Garfield by doctors in 1881. Included in Stiffs, Skulls & Skeletons are pictures of his spine from his autopsy. The President was shot and the principle was the same Civil War bullet wound concept they were using 20 years earlier—stick your hands in the body to find the bullet. And that’s what they did: they made a huge wound with their dirty unwashed fingers. After Garfield died we finally went into antiseptic and asepsis surgical techniques. But during the Civil War you saw none of it, and doctors often held sutures in their mouths wetting it with saliva while sewing up.

On MERCY STREET we have a bone excision, which was done with a fancy saw to get around the bone.

During the Civil War, surgery was very serious work because of the large number of wounded. Doctors attempted as short a period of anesthesia as possible, so the surgery was quick—two minutes, five minutes maybe. It wasn’t a complicated procedure. Just quickly cut through the muscle and bone.

S&F: It sounds like you were teaching people how to do the wrong thing in the right way on MERCY STREET?

SB: It only was the wrong thing later. There is a lot of wrong medicine. I don’t know if you watch television, but they have lawyers on there everyday saying call your doctor if you ate spinach, or something like that. Call if your mother’s grandfather smoked near an asbestos plant. But you don’t know until afterwards the ill effects of chemicals, medicines, and procedures. But you have to do the procedures known at the time–come up with an idea to try to help and you only find out it’s wrong later.

S&F: That’s one of the things I love about THE KNICK—that it dramatizes that discovery process.

SB: You see every discovery, you see the thought process. What you’re witnessing there, a lot of the stories, are from my material. I have the complete library of the major medical journals from about 1885 to 1935. We have 10,000 books here.

S&F: Do people come here knowing exactly what they are looking for?

SB: Not extctly. People come here not knowing what they’re looking for, and then they find it. That’s why we were THE KNICK advisors, because I had written an article about a woman with nasal destruction from syphilis—this is one of the things I’ve been promoting for years because I have great pictures of that. All of that came out of here. When they came here they had a pilot, they left with a season. Where are you going to look for historic medical photographs? Here.

S&F: So the writers knew they wanted to write this show?

SB: Jack Amiel and Michael Begler, the writers, and Steven Soderbergh, the director, came here to discuss their pilot. They were supposed to be here for a half hour or so, and they stayed for several hours, and they got the stories because I showed them each and every one. That’s what I do; I’m a storyteller. I’ve written 1179 articles. From that day on I was a member of the team. Liz and I were on set for the entire production. Then we went through the procedures to show them what to do. We made sure the surgeries were period perfect.

We walked into MERCY STREET, into their big “idea” room, they had a room in this great gothic Moroccan building – the former Richmond City Hall–and it was just filled with photographs from my book Shooting Soldiers. So it was my photographs of wounded soldiers and operations that helped create the show. The nice part for me was that they listened to me when I made corrections and introduced some dramatic visual effects.

S&F: How was working on these shows different than consulting on a documentary?

SB: Usually a documentary is someone else’s story. These are my stories. The showrunners came to us with an idea and we filled in the blanks. The whole part of the brain that is filled with songs, for me is filled with pictures and stories. I don’t remember songs. Just think of all the songs you know, that’s all the pictures I have.

S&F: Can you give me an example of how you worked together with Soderbergh?

SB: The first day of shooting on THE KNICK they filled up the big surgery amphitheater with about 100 doctors, and Steven walks into the room and is getting ready to shoot and I said, this isn’t right. You have all these young, good-looking doctors up front. If Spielberg or Scorcese invited you to watch them film, would you be in the first row, or the last row? So it’s all the older experienced professors up front, and all the younger, inexperienced doctors who know nothing, who barely know what they’re seeing, in back. Steven listened–he then spent a half an hour rearranging the audience so that the older-looking doctors were right up front like they were meant to be. Had it been done the wrong way, all the historians in the world would have watched it and said, what’s Jake Gyllenhaal doing in the first row, and Sean Connery doing in the back row?

S&F: Have you ever had any historians critique the show?

SB: THE KNICK has only received positive feedback. I am a member of many surgical groups and all the historical groups. THE KNICK is perfect. One of the results of the series is the realistic and medically accurate medical models and prosthetics. Between Season 1 and Season 2 Fractured FX (the make-up FX company) was hired by Boston Children’s Hospital, a division of Mass General, to create prosthetic body parts so that surgeons could learn to operate. The neurosurgeons worked with [Fractured FX] to make sure that the skin and tissue and brain was exactly accurate. You couldn’t tell the difference between a real person and the prosthetic. That’s an example of how medical science was advanced from The KNICK.

What I say in every one of my lectures is that the doctors 100 years ago or 200 years ago were just as smart, just as innovative, just as interested in helping their patients, but they labored under inferior knowledge and technology. The one critical thing to come away from this is that 100 years from now they will look at us the same way. The way medicine is advancing, bacteria can be used as indicators of everything from asthma to diabetes. In 50 years they will be swabbing all your orifices and skin to see what’s growing on you and in you, and will be able to tell what you have and what you will get. Yesterday alone I was absolutely thrilled to see that they discovered how to diagnose pancreatic cancer through the growth of a certain bacteria. Martin J. Blaser, MD is Director of the Human Microbiome Program at NYU and was the major proponent of that theory. We were pleasantly surprised when Marty was one of the 100 most influential people in the world according to Time Magazine, because he has totally changed the concept of causation and diagnosis of disease.

Although I’m a practicing ophthalmologist, I am in both the departments of Medicine and Psychiatry at NYU, so I go to medical and psychiatric grand rounds, and it’s absolutely amazing. When I went to medical school they taught us that 50% of what we learned in five years would be outmoded. I’ve had so many five-year periods.

S&F: Did you have a good time working on the show?

SB: We had a great time because I saw my stories come to life and had the honor of working with such amazing people.

The first motto of The Burns Archive was “Preserving the Vision of American Medicine.” The Historical Collection includes sections on Death & Memorial, Judaica, War & Conflict, and more; the Medical Collection includes Anatomy & Education, Operative Scenes, Pioneers & Innovators, among others. A number of photographs from The Burns Archive are currently on display in the exhibition, “Crime Stories: Photography and Foul Play,” up now through July 2016 at the Metropolitan Museum of Art.

Photographs © Stanley B. Burns, Md & The Burns Archive

Candidly Posting

We have been office bound for a bit, taking care of all those bits of paper, unanswered emails and tackling projects that have been gathering dust. Hard to stay put with Spring calling; but we have been able to take a journey, none the less, complements of “The Candid Frame,” a photography-based podcast by Ibarionex Perello.

This gem has over a decades worth of interviews, conversations and observations, with photographers such as Mary Ellen Mark, Matthew Jordan Smith, Douglas Kirkland, Reza, Maki Kawakita, Joe McNally and hundreds of others. I have been introduced to so much I was unaware of: like Kiliii Fish (#296), an indigenous shooter and adventurer who explores indigenous peoples and wilderness preservation. He works as a survival guide and teaches the traditional skill of native Kayak Building. Listening to him speak passionately and knowledgably about his work makes one forget about four walls and being inside.

Then there is Donna Pinckley (#306), a native of Louisiana and currently Associate Professor at University of Central Arkansas in Conway. Her “Sticks and Stones” series of interracial couples, paired with handwritten slurs that have been thrown at them, are a silent and damning statement; made all the more powerful as she talks about her work in her soft Southern accent.

Images from Flickr Pool expand the traditional podcast to include supplementary and informative visuals. Each week , Ibarionex pulls images submitted by listeners to explore issues of technology, conceptual practices and disciplines.

Ibarionex is a photographer, educator and author, recently taking The Candid Frame over to Patreon, the platform connecting creators to audience crowd-sourcing in a long term dynamic. This is a resource well worth supporting – for as little as $2.00 a month, you can help invest in equipment, software and resources to improve the audio quality of The Candid Frame photography podcast. This would include microphones, digital recorders and software which will help increase the production values of the show. Funds also provide host greater flexibility for scheduling and conducting interviews.

Have a look… and a listen:



Dispatches From Chicago

By Michael Masterson

Chicago’s mercurial weather graced Visual Connections with a beautiful, sunny day on May 5th. Returning there for the first time since 2014, Visual Connections came back in great form with an expanded and sold-out roster of exhibitors. It attracted a record number of attendees drawn by the diverse group of exhibitors and excellent educational sessions all held at a stunning venue, The Ivy Room.


Because many of the attendees at Visual Connections use a mix of assignment, stock stills and footage, the show has broadened its exhibitors to include commercial artists reps, CGI companies, production companies and other services. In addition to stock agencies such as Stocksy, Alamy, Bridgeman Images and Danita Delimont, the Chicago event showcased many of the top Chicago artist reps such as The Rep Roadshow, Schumann & Company, Jodie Zeitler, Marge Casey’s Wave and Rad Represents plus out of town agents like Illustration Ltd. and Janice Moses. Other providers such as 360 Cities (interactive 360 still images), Catch&Release (proprietary search tools) and the Artists Rights Society (copyright and licensing services) rounded out the wide offerings for attendees.

The morning keynote session focused on sourcing and using social media, an increasingly omnipresent component in advertising and publishing and one that key art buyers we surveyed requested. Helmed by Melissa Hennessy, longtime artist agent in Chicago, the panel featured Bill McGrath, a noted attorney specializing in copyright and intellectual property rights law; Liz Baugher who heads Emissary which represents top commercial photographers and directors; art producer Lindsay Tyler and Nuno Silva, a founding member and VP of Product for Stocksy. Bill kicked off the session by updating the nearly standing room only crowd on some of the latest issues in copyright law especially regarding social media and fair use. He cited an example of a drugstore chain that Tweeted an image of an actress coming out of one of their stores carrying their branded bags with the message that even celebrities shop there. She sued for infringement and won, setting a precedent in how “street” imagery can be used for promotional reasons. One of the main takeaways was that this area is constantly changing and new uses and permissions are still being shaped by settled cases or defined by the courts and legislation.

The afternoon sessions focused on capturing motion and stills simultaneously and search and licensing. The first session was moderated by Melissa Thornley, a creative consultant, and featured Jonathan Chapman, the noted photographer and director, Cliff Grant from STORY and Laurie Rubin, an award-winning photographer. More clients are asking for motion and stills to be done together to save time and money, but that sometimes proves challenging according to the panelists. As an example one client questioned why the final video had such a bright light in it, not realizing that the still photographer needed it to do his part of the job.


The final session of the day was moderated by Doug Dawirs, creator of DMLAsearch among many other things, and included Brian Novy from Dissolve and Lisa Vazquez Roper from Alamy. Brian advised that licensors thoroughly review rights associated with any licensing models and opined that as providers offer new bundles and licensing options to make purchases ostensibly easier, they often make things more complicated.

Doug demonstrated the DMLAsearch tool which indexes over 167 million licensable images (including motion and footage) from dozens of agencies and outlined the many services DMLA does on behalf of its members and the image industry including lobbying Congress, promoting best business practices and spearheading technical initiatives.

In a nod to Cinco de Mayo, the lunch buffet featured Mexican food as did the margarita happy hour afterward hosted by the Workbook, the top creative resource and also the principal sponsor of the event. 500px, another sponsor, made sure everyone got a keepsake from their photo booth on the show floor. So, notch another success for Visual Connections and mark your calendars for the next event in New York on Thursday, October 27th. As Deborah Free, VC co-president says, “We’re very pleased with the turn out for this event in both the diversity of exhibitors and buyers attending and look forward to continuing to expand both bases to better meet the needs of all involved. 70% of attendees this year were newcomers, with a strong showing of art buyers and producers, thanks in large part to having Workbook as our Principal Sponsor. Our events are well on course to being the meeting place for everyone involved in sourcing or commissioning photography, illustration and footage.”

Photo Credit: (c) 2016 Bonnie Robinson/Workbook

Screen Shot 2016-05-10 at 3.35.52 PMMichael 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 michaeldmasterson@gmail.com.


Finding Creativity Using Stock Photography.

By Nuno Silva (VP Of Product Stocksy United)

While working at a stock photography agency it’s always impressive to see how images are being used, how your customers are interpreting visual trends, and how they’re using photography to communicate creatively. At Stocksy we’ve been fortunate to work with some very talented creatives who have learned to see beyond the stock photography clichés. Here are a few recent examples from our clients that really inspired me.

Using illustrative photography instead of illustrations

(c)Catherine Macbride/https://www.stocksy.com/360279

(c)Catherine Macbride

This particular client was very dependent on iconography and illustrations and was reluctant to use stock photography. During a branding exercise, they stumbled upon a collection of simple yet clever still life photos that relayed playful concepts using paper-craft and flat lays. These minimalist yet effective images had the depth of photography but also the whimsical charisma of illustrations. The versatility of being able to use real-life objects to illustrate concepts and human elements really opened up their design possibilities. Using these types of clean and simple images, they were able to keep their visual branding consistent across several platforms without shifting too far from their previous brand aesthetic.


50 is the new 30 (or 20)

(c)Jill Chen

(c)Jill Chen

At Stocksy we have been following the trend of the hip and adventurous 50-somethings. It was validating to hear from several senior lifestyle publishers that they were using photos of this group doing the same things that 20 and 30-somethings were doing. Generation X (folks born between 1960 and early 1980s) grew up with video game console systems, the internet and a lot of the modern conveniences that are now common place. So why are we portraying the eldest of that generation as geriatrics confused by ATMs? It no longer makes sense that older people are luddites with health problems. People in their 50s are healthier, more active, and more connected than ever so pushing the boundaries of what society expects is a refreshing trend.


The medium is the message

(c)Wendy Laurel

(c)Wendy Laurel

Everyone has been saying “there’s something about film.” It’s something that fascinates me personally and something I’m experimenting with. I love the colors, the truthfulness, and the imperfections in the medium. Many digital filters have tried to emulate it, but there’s no denying that there is something unique about the physical medium and you know it when you see it. One of the best examples I came across recently was a client who used film as part of their narrative when it came to relaying nostalgia and “the past” in their campaign story. The shots used weren’t over filtered or faux-film looking. They were genuine shots with beautiful natural grain and the slight focus imperfections. Non-photographers can understand this without really knowing how the subjects were of a specific era and moment in the timeline of the story. We’ve also seen the same type of creative usage of a medium applied with mobile photography interwoven as part of a larger story.

Creativity is all around us and we are seeing so many fascinating concepts and ideas come to life, especially through our clients. With photography, the boundaries are limitless and we support that on every level.

Stocksy: www.stocksy.com

Image Credits:

Catherine MacBride https://www.stocksy.com/360279

Jill Chen https://www.stocksy.com/792078

Wendy Laurel https://www.stocksy.com/592558

Nuno-SilvaNuno Silva is a successful commercial photographer who became a founding member of the Stocksy United co-operative in Feb. of 2013, where he started as the director of content and is now the VP of product. Building upon an experienced career, with over a decade of industry knowledge, at companies like iStock and 500px, Nuno is also an active member of the Digital Media Licensing Association (DMLA) and currently sits on the board of this international trade organization. Nuno currently resides in Toronto, Canada with his supportive wife and son.




All things change, especially in the fast-moving world world of photo licensing. For some time, now, industry professionals have noted that PACA (Picture Archive Council of America) has evolved into the DMLA (Digital Media Licensing Association); but do they also know that PACA’s fantastic mega metasearch engine of licensable content has been updated into DMLASearch?

Simply put, DMLASearch is the kind of tool that puts a spring in your step. As a tool, it radically reduces the time spent searching for images. Aided by a predictive text menu and built-in disambiguation of homographs and capitonyms, researchers, photo buyers, creatives and licensers can now search dozens of still and motion archives in seconds.

So what’s the drawback? Well, there isn’t any. DMLASearch is free to use. That’s right. If you want to search a horde of agencies for exactly that right image, just dive into a photographic gene pool representing over 171 million images (and growing): pooled form agencies ranging from Shestock to Goodsalt, eStock Photo to Trevillion Images, Media Bakery to Venus Stock.

Christopher Bain, the Photography Director of Sterling Publishing Group, perhaps puts it most succinctly:

“If you use Google to search for everything else in your on-line life, you really should be using DMLAsearch to seek out the best images on earth. It continually reminds you of dozens of sources that might have the image you seek, helping you keep out of the rut of using the same old source day after day. The blindingly fast two-column search result shows two views, the raw count per agency and the results as a percentage of an agency’s collection. This helps you see who has the true depth in the subject matter you are looking for. I love it!”

The navigation protocols of DMLASearch don’t reinvent the wheel: buyers simply submit a keyword or term in the search box to locate the best choice of image to meet the need. And that’s about it for the hard stuff… The easy stuff is being rewarded – instantly – with a dizzying array of thumbnails to start scrolling through. Oh, and if you want video footage: there’s a separate “media type selecter” for that too!

DMLASearch first returns two columns of results. On the left is a list of agency libraries ranked in descending order for the total number of images found in each. On the right. a column of libraries is ranked by the relative percentage of images in relation to the total collection; thereby highlighting those archives that offer specialty content in a relevant subject (you may find that agencies highest ranked by relative percentage tend to specialize in that subject). The relative ranking helps buyers zero in on those collections that can yield surprising depth and selection on a particular subject while also maintain clear line of sight to those collections which offer the greatest breadth on the same topic. Contributing agencies do not pay to be included in index. It is a benefit of DMLA general membership.

The images are not free uses; but researchers can also take comfort that the  images are available for licensing. Once you’ve found the material that you require, you negotiate the transaction directly with the agency. You will find that licensing options vary by agency. The DMLA does not profit from that transaction.


To visit the DMLA search engine, visit:


Scopio Takes On Authentic Content Access

Guest post by Jain Lemos

Stop photo searching like the century and get in sync!



There’s tons of new technology popping up around the ability for buyers and creators to record transactions, track and share content, and basically get down to the business of image curation and usage. Scopio has jumped into the fray as another go-between, where you give them permission to access your social accounts so you can request images directly from the plethora of user-generated visuals.

As background, Columbia University innovators Christina Hawatmeh and Manoj Pooleery put up a post for an interaction designer at Parson’s so they could visualize big data on image sharing from Twitter, based on real time hashtag events through Twitter’s API. “We specifically were running an experiment on capturing image content from the Arab Spring,” explains Hawatmeh. That led to them being accepted to Columbia’s Innovation and Entrepreneurship Program, a springboard leading to the Scopio enterprise.

Like those before them, they saw a gap between searching for socially-shared images and getting permission to use them. Access, directly from the source, they saw as a big data problem. “We had dreams of how we could bring these macro speed-of-lightning events to be visualized and communicated in a simple and impactful way, through images.”

Scop.io stands for “Scope it Out” and therein lies the key to using their platform. Buyers need to shed their old stock search terms and employ social’s ubiquitous hashtag language. Using a search for Puppies and Dogs, here are some example hashtags: #dogsofinstagram #doglove #campingwithdogs #mypuppy #nationalpuppyday. While traditional keywords will work (each Scopio search allows for seven hashtags and five keywords), keeping up with hashtag vernacular and trends are going to bring you the best results.

Some observers claim there are up to 4 billion photos and videos posted on social media every single day. Figuring that a good portion of those are what Hawatmeh terms, “commercializable”, she projects a growth rate of 20 to 30 percent. “We have gone through and manually coded over 600,000 images by hand,” she says, plus their database holds more than 40 million images stored from Instagram and Twitter, also manually coded by Scopio.

Because both Instagram and Twitter have restrictions on interactions, Scopio can’t broker sales between buyer and seller. What they can do is display the content to you through a dashboard on their site. Clients pay for curation and licensing via a subscription. When an image is used, Scopio offers compensation for the license.

Scopio spent nearly three years building out their software and they are still improving their learning methods to, “dig through the garbage of social media,” Hawatmeh says. “We discover gems in the millions of images posted to social media and give you a way to license them for your own use,” she promises.

While the two founders are not photo people, their CCO, Nour Chamoun, is a photographer and design and technology grad from Parsons. They engaged industry advisors to learn about the image buying space including Barbara Roberts (formerly FPG), attorney Nancy Wolff, and a Thomson Reuters consultant. Scopio also joined DMLA, which Hawatmeh says has been helpful.

With yearly microstock revenue around $2.8 billion, and a global spend on social marketing tools between $2-5 billion, Scopio sees themselves in-between those markets. They’ve already received recognition from several online tech buzz sites including The New York Observer and Founders Grid and appear ready to take on the challenge. Right now, Scopio offers a free trial as part of their launch, so give it a whirl.

Example of how an image is used from Scop.io

Example of how an image is used from Scop.io

JainLemos-600x600Jain Lemos has been deeply involved in photography publishing and licensing for more than twenty years and shares her informed perspective about our visual industry on multiple platforms including her website, jainlemos.com.