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Introduction The Ur-List: Web Resources for Visual Anthropology facilitates web searches by cross-indexing three hundred and seventy-five anthropological sites according to the categories of information they contain. The Ur-List's cross-index is more accurate than most Web-resource guides which typically reduce a site's multifaceted content to only one category. In the Ur-List, sites may be accessed according to the twenty-two subject-categories listed above. Multifaceted sites are cross-referenced under all appropriate categories.

The Center for Creative Photography is an archive and research center located on the University of Arizona campus. We retain the archives of Ansel Adams, Edward Weston, Garry Winogrand, Harry Callahan, and other great 20th century photographers-over fifty archives in all.

The Correspondence of William Henry Fox Talbot Project has prepared a comprehensive edition of the nearly 10,000 letters to and from Talbot (1800-1877), the Wiltshire polymath best known for his invention of photography. Draft transcriptions of nearly all the letters were posted by September 2003 and these are now being further annotated and edited.

The Photographer's Right A Downloadable Flyer Explaining Your Rights When Stopped or Confronted for Photography The Photographer's Right is a downloadable guide that is loosely based on the Bust Card and the Know Your Rights pamphlet that used to be available on the ACLU website. It may be downloaded and printed out using Adobe Acrobat Reader. You may make copies and carry them your wallet, pocket, or camera bag to give you quick access to your rights and obligations concerning confrontations over photography. You may distribute the guide to others, provided that such distribution is not done for commercial gain and credit is given to the author.

Attitude Counts Guidelines for Assistants By Pamela Kruzic The following is a compilation of responses that the author received after posting an inquiry on the ASMP members-only forum at [www.asmp.org] combined with her own experience as an assistant. Information providers: David Budd, Alan Farkas, George Fulton, Ira Mark Gostin, Tom Hussey, Jeffrey Jacobs, Deborah Gray Mitchell, Harrison Northcutt, Michael Sharp. Edited by: Ira Mark Gostin and Michael Sharp. Special thanks to Jerrianne Lowther and Roy Buckner.

Going Digital By Angela Wolff It's the question every photographer asks when making the switch from film to digital: Which camera is right for me? It should be no surprise that the answers are as varied as their subjects and work styles. For many, the decision boils down to the equipment already in use; sticking with the same manufacturer can shorten the learning curve and cut costs. For others, a close examination of business needs balanced with camera capability will help clarify the choice. But whatever you do, don't make the decision based on cost alone. "A lot of people are buying on price, and with [these things] you just can't do that," said Lon Atkinson of Atkinson! Studios in San Diego. "You need to carefully define your specific needs and pick based on what best fits your business."

Assistance Wanted Photographers and Assistants have their say. Wanted: Hard working, energetic, responsible person able to carry 90-pound bags and rewire small electronics. Must not be afraid of heights or susceptible to motion sickness. Be equally as enthusiastic about working with fashion models and celebrities as with livestock, inanimate objects, mops and brooms. Must be able to wake up early, work long hours and function on little sleep. Valid driver's license and passport required; multiple languages a plus.

Taking Stock By Angela Wolff Back in the 80s and 90s, "stock" was the name of the game. The economy was good, the market was hungry, and agencies hustled to get their photographers the biggest clients at the best rates. But then came agency consolidation. New contracts were issued, and many photographers felt their "agents" had become vendors, chipping away at prices, demanding higher sales percentages, and leaving their photographers to fend for themselves. Some photographers have become frustrated and have left the stock game altogether. Others have simply decided to take matters into their own hands. Many are collecting fees from images still represented by the big agencies, while cultivating profitable stock models of their own. They have found ways - by creating their own e-commerce sites, by capitalizing on niche specialties, by maintaining hands-on relationships with buyers, or by turning low-profit deals into moneymakers - to make the most of the current stock market. The photographers we talked to all said that, when licensing their own images, they garnered higher fees than agencies would have. Not just higher than the percentage split they'd usually see on their commission statements, but fees higher than what agencies typically charge their clients in the first place. The reason: As the big agencies gobbled up more and more small agencies and subsequently cut their image libraries, they not only offered lower revenues to their photographers, they also gave their clients fewer options and fewer services.

Words of Wisdom from Women Photographers

Photo Annual Awards You Gotta Play to Win. Photo Competition Call For Entries - Deadlines and Web Links The accompanying PDF contains names, organizers, deadlines, eligibility requirements, fees and Web links for over sixty leading photography competitions and grant programs held in the US and internationally. The details listed have been compiled from information currently available and may include deadlines and costs from past years' events. Please be sure to consult individual competition Web sites for up-to-date information before submitting. It may also be advisable to contact competition organizers for further details or to answer specific questions. Many professional organizations have additional listings of competitions for categories such as advertising, graphic design or broadcast media that may also apply to the work of certain photographers. Here are some additional Web links to pages with these listings:

From Pixels to the Printed Page Eight photographers discuss the pros and cons of digital photography in their businesses: How they use it, what they like and hate, what the clients think, how to bill for post-production time, where the technology is going and where it needs to go.

Bill Miller's Strategy for Working with Nonprofit Organizations For a print article on pages 22 - 24 of the ASMP Bulletin's Winter 2007 issue, Sarah Coleman interviewed eight photographers who have worked with nonprofits on various levels. She described the obvious benefits, the potential pitfalls and reported on how photographers have managed these relationships, and to what extent their normal business practices were appropriate. Here, Oregon-based photographer Bill Miller provides additional insight into a strategy he's developed to make his nonprofit work a financially viable enterprise for his business needs and a win-win situation for all.

Business Tips for the Freelance Photographer By Ira M. Gostin, MBA, © 2008 www.gostin.com This article, and the others in the series, will provide you with tips for establishing, building and growing your photography business. Like any consultant, opinions are presented based on my own experiences and a great deal of research gleaned from 25 years of running a photography business along with an MBA education. Collect data from multiple sources and make decisions that are best for your individual business. The smarter you operate your business, the more opportunity to be creative and have fun. I hope these articles help.

Winds of Change: Is it hurricane season in the photo business? Q&A with creative consultant Carolyn Potts Carolyn Potts was a featured speaker at the ASMP member's meeting held in New York during PDN PhotoPlus Expo. An article with insights from her presentation was published in the ASMP Bulletin's Year End issue. As a complement to the article in print, this online Q&A features more of Potts's marketing insights.

Business Links Below are links that can help you in your business. By linking to these private sites, the ASMP is not endorsing its products, services, or privacy or security policies. We recommend you review the business's information collection policy or terms and conditions to fully understand what information is collected by this private business. Visit Industry Links for links to manufacturers, suppliers and other resources that could help you in your business.