Free Reply to Response to Motion - District Court of Arizona - Arizona

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American Society of Picture Professionals: About ASPP
Home Who We Are Find a Pro Member Links

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Chapter Links

What we are The American Society of Picture Professionals (ASPP) is a nationwide organization of professionals who produce, sell, edit, catalog and use photographic imagery - a forum for education, information, dialogue, interaction and professional growth. Who we are ASPP members are photographers, photo researchers, photo editors, stock agents, museum curators, librarians, historians, archivists, designers and writers. They work for major book publishers, national magazines, photo agencies, associations, government agencies, museums, libraries, as well as for themselves as photographers, writers, freelance researchers and consultants. By bringing together people from a broad spectrum of photography related professions, ASPP provides an ideal networking opportunity for all those with an interest in visual communications. What we do ASPP provides an open exchange of information on industry ethics and standards, business practices, and needs created by new technology. We offer a framework for professional networking. We inform and educate those interested in photography and visual communications. We promote a Code of Fair Practice for picture research, usage and handling. And we offer support and knowledge to anyone interested in choosing a career as a picture professional. How we're organized ASPP members come from all regions of the United States and ten foreign countries. We have chapters in DC/South (Washington DC), Midwest (Chicago), New England (Boston), New York, and West (Seattle). The ASPP national board of officers oversees the organization's activities. Elected for a two-year term, the board consists of a President, VicePresident, Secretary, Treasurer, and Membership Director. Additionally, each of the five regional chapter Presidents serves on the board during their elected term of office. ASPP is an entirely volunteer organization, with the exception of four, ongoing paid positions: Executive Director, Magazine Editor, Advertising Manager, and Designer. But it is the efforts of our volunteers - members who hold office, organize events, participate in meetings, contribute ideas and share experiences - that form the lifeblood and character of the organization. What we can do for you Membership in ASPP offers a variety of publications, programs and services designed to keep you up to date on the latest ideas, trends, practices, developments and opportunities in the world of the picture professional. ASPP Chapter Programs offer members the opportunity to attend panel

©John T. Fowler

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discussions on current issues, presentations on new technology, talks by photographers and other visual communications professionals, and special tours of photography exhibits, museums and corporations. Our quarterly full color magazine, The Picture Professional, brings you valuable information, news, sources, technology, business practices and advertisements. Our online Membership Directory, available in its entirety to members only, provides detailed information about members including specialties, job classification and description, company, address, phone numbers, and other pertinent professional information. Online updates are posted monthly. eNews is a monthly electronic newsletter with information about members, is published as on an online magazine on the ASPP website. It provides upto-the-minute information about members travels, collections, projects, or other news of mutual interest. Our website, www.aspp.com, offers information about members and the photography business and features a photo gallery, a forum for exchange of ideas and information, a Find-A-Pro section, and links to members' own websites. Our Job Postings program regularly sends news of job openings in the photography and related fields to members by e-mail. Job postings also appear on the ASPP website. More than 200 job listings have been sent out in the past two years. How you can join There are five categories of ASPP membership - General, Joint, Senior, Foreign and Student - designed to accommodate members of all affiliations and ages. General Membership is offered to individuals at $100 per year. It entitles you to free or reduced attendance at at ASPP regional events, and to receive the quarterly magazine, emailed announcements, and online member benefits. Joint Membership is offered to a partner or spouse at the same mailing address. The primary member pays $100 annually and receives all benefits and services of General Membership. The secondary member pays $50 and receives all General Membership benefits except receipt of annual and quarterly publications. Senior Membership is offered to members age 65 and older at $75 per year. It includes all benefits and services of General Membership. Foreign Membership is offered to members outside the United States at $110 and includes all benefits of General Membership. Foreign members age 65 and older pay $85 per year. Student Membership is offered to individuals currently enrolled as students in any college or university. Must be enrolled as a full time student in an accredited photography program. Must also serve 10 hours (minimum) to 25 hours (maximum) volunteer internship with a regional chapter, ASPP Education Committee, or ASPP member. All rights and privileges of

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General Membership, as described above, including access to Member¹s Only portion of website. No receipt of quarterly publications. To become a member of ASPP, you must have four years experience as a picture professional or receive the recommendation of two ASPP members in good standing. To apply for membership you can print an application form in PDF by clicking on the link below, or request one by mail or fax by calling 703-299-0219.
Click here to print out our membership application form.

How your company can get involved ASPP has been fortunate that many major U.S. corporations involved in photography and the visual communications industry have chosen to become Corporate Sponsors of ASPP activities. National and chapter events, education programs, and web site and publications development are examples of areas where funding has and can make a difference. These venues provide excellent marketing opportunities and visibility for corporate sponsors. Discounts on advertising in ASPP publications are also available through this program. How to get further information For further information on all of the above described services and membership opportunities, please contact our Executive Director, Cathy D-P Sachs, at: The American Society of Picture Professionals 117 S. Saint Asaph Street Alexandria, VA 22314 Tel: 703-299-0219 Fax: 703-299-0219 Email: [email protected] Back to Top
2006-2007 National Officers President Vice President Membership Treasurer Secretary Eileen Flanagan Linda Paterson Eger Christie Silver Holly Marshall Mark Skalny

Regional Chapter Presidents DC/South Midwest New England Alexa Keefe, Co-President Maura Walsh, Co-President George Sinclair, Co-President Laurie ShoulterKarall, Co-President Patricia Bruno, President Susan Jones, Co-President

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New York West

Ilene Bellovin, Co-President Tom Wear, Co-President Debra Lemonds, Co-President

Committees/Staff Past President Legal Chair Executive Director Education Committee Chair Web Editor Communications Louis Plummer Jane Kinne Cathy D-P Sachs Jain Lemos Kenneth Liao John Loggins

The Picture Professional: Editor Designer Advertising Manager Niki Barrie Joe Sutliff Greg Ogden

Past Presidents, from 1976 forward: Ron Buehl Bob Woodward Jimmy Fox Ann Novotny Wesley Day Alice Lundoff MoccasinRita Logabucco Ted Feder Raimondo Borea Peggy Buckwalker Ben Michalski Margaret Mathews-Berenson Roberta Groves Grace Evans Jane Kinne Townsend Dickinson Jack Weiser Larry Levin Susan Soroko Richard Pasley Danita Delimont Louis Plummer

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©2005 ASPP. All images are copyrighted by the credited contributors. No reproduction or copying in any way is permitted without express written permission of the contributor.

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EXHIBIT 2
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American Society of Picture Professionals: About ASPP
Home Gallery Online Magazine Latent Images Book Reviews

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Resources

Stock Photography Basics: A How-To Guide For Stock Photography by Seth Resnick Definition of Stock Photography Stock photographs are comprises of existing photography available to buyers for their specific needs. The photographs become a commodity available through either an individual photographer or through a stock agency. Under most circumstances the images are actually not sold but are leased with a licensing agreement. Where is stock photography applicable? Today stock photography is applicable in every conceivable market which utilizes photography. It is routinely used in advertising, editorial, brochures, multimedia, catalogs, annual reports, record albums, television commercials, posters, calenders, greeting cards, credit cards, AV shows, and most recently it is widely used on the World Wide Web. The market for stock photography is expanding at a rapid pace with new uses every day. How is stock photography produced? Stock photographs are produced in two basic ways. Photographers retain rights to the images they produce on assignment for clients and turn those images into stock photography or they actually fund elaborate productions to generate images specifically for stock. What are the basic benefits of stock photography? WYSIWYG or what you see is what you get. In traditional assignment photography a photographer is hired to illustrate an idea or capture some event. There is a creative fee to pay which can be in the thousands per day and there are expenses including: travel, assistants, film & processing, talent, stylists etc. The cost can be downright prohibitive and there are NO GUARANTEES. Stock photography offers the guarantee. The user can see the an image without paying for the cost of the whole shoot. The other big benefit of stock photography is the ability to for an end user to see images fast and in some cases immediately. For todays fast paced society many times there is simply no time to wait for a particular image to be photographed and stock offers that solution. For the photographer the benefits of stock photography are enormous. Over time many images will generate far more income than did the actual assignment. Many images have a long lifetime and will generate income for years to come. A decent collection can not only double a photographers annual income but can also continue to generate income even after he or she is retired. What are the pitfalls of stock photography?

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For the client the biggest pitfall to stock photography is that the images may not be exclusive to them and in fact may very well have been published many times before. It is possible to buy stock images with exclusivity but the cost will be far greater and may or may not be available for a specific image. For the photographer the are several issues which become pitfalls with regard to stock photography. If the photographer sells through an agency it usually takes months after a sale before the photographer gets paid. There is also the basic fact that most agencies take 50% on a stock photography sale and more if the image is sold overseas through a sub agent. There is a great deal of time spent getting images ready for sale including captioning, categorizing , key wording etc. If the photographer produces images specifically for stock there are no guarantees the images will ever be sold and it might take years just to receive enough income to cover your expenses. Where can stock photography be found? As new buyers continue to discover the benefits of stock photography, the sources for stock continue to multiply. Traditionally, stock photography has been available from an assortment of large agencies. Today stock photography is available from many sources including CD Rom both in the form of Clip art and licensed images, direct from photographers, source books and stock catalogs, and from the internet. STOCK PHOTOGRAPHY - STEPS- ISSUES-STANDARDS FOR BUYER & SELLER REGARDING TRADITIONAL STOCK PHOTOGRAPHY 1. The first step is the request for images. This is accomplished via phone call or fax or Email .In addition publishers will routinely provide want lists and there are subscription services, which for a monthly fee will supply want lists via fax or computer. If you are the person requesting the images it is vital to be as specific as possible. In addition to specific information about the photographs you are requesting ,you should also supply the researcher with specific stats regarding the image use. Both parties should discuss use fees, research fees if applicable, method of delivery, the time needed to hold the photographs, liability for loss & or damage. Our office will routinely fax a sample delivery memo to new clients for them to sign, prior to sending out images. Remember that proper paper work and discussion of terms and conditions ahead protects both parties and eliminates problems in the future. 2. After the request a researcher or photographer must locate, caption and prepare the images for delivery. Many people charge a research fee which commonly ranges from $50.00 to $100.00 which helps to cover the costs associated with time intensive tasks. Some agencies and photographers waive the research fee if the images are used, while others do not apply to usage and some do not charge any research fee. If you request images make sure you check out the suppliers research fee policy and if you are selling images make sure you indicate that you do charge a research fee in advance. 3. Delivery of the images. You are most likely going to receive original images. Although the exact value of photographic images is a topic which constantly surfaces and resurfaces in the courts it is safe for both parties to assume that the images are for all practical purposes worth $1500.00 each or the stipulated value on the delivery memo. With this in mind images should be sent via a courier service which can track the package at any given time. Some agencies and photographers will actually list the courier service that the images must be returned with on the delivery memo. The delivery memo will list vital information about the images and their use. Make sure you read the delivery memo and understand the terms

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and conditions. At the very least make sure that the count on the images you receive matches the count listed on the delivery memo. If the count is different it is important to notify the sender immediately that there is a discrepancy. The delivery memo will also routinely list the intended use of the images the fee for use and the date that the images are due back to the agency or photographer. 4. Use of the images. If an image is going to be used it is vital to notify the agency and or photographer prior to final use. Most delivery memos will state that no rights of any kind are granted until payment is received in full. Further if the intended use is slightly different either in size or placement than that listed on the delivery memo you will want to have the power of negotiation with the photographer and or the agency. If the image is used and than the agency or photographer is notified the user may find that the amount the photographer or agency is charging is way beyond there means, yet they will have no choice but to pay the bill or they risk the consequences of intentional violation of the copyright statue. 5. Returning the images. Typically all images are due back within 21 days. Many agencies and photographers charge holding fees if the images are held longer than 21 days. If as the client you need to hold the images longer than the stipulated time on the delivery memo than it is pertinent to notify and discuss the situation with the agency or photographer. Seth Resnick is a freelance photographer based in Boston, Massachussetts.
www.sethresnick.com

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Code of Fair Practices

©2002 ASPP. All images are copyrighted by the credited contributors. No reproduction or copying in any way is permitted without express written permission of the contributor.

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EXHIBIT 4
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CGN 01140

Zsuzsanna Laszlo Upside Magazine 731 Market Street, 2nd Floor San Francisco, CA 94103 415.489.4405 _ RE: Roy Vallee, Avnet. SERVICES RENDERED: 4/12/2001

Invoice #2001-1148 April 17, 2001

Environmental portrait of Roy Vallee, CEO, Avnet for the July 2001 issue of Upside. Location: Avnet, 2211 S 47th St., Phoenix, AZ 85034. 480.643.7771 Editorial photography fee: Film, Polaroid, processing: Assistants: Mileage: 95 miles @ .45¢/mile Total Due 800.00 200.00 150.00 42.75 $1,192.75

SSN PAID

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-

CK#

TERMS AND CONDITIONS 1. Usage Rights: Photographs are for one-time editorial publication rights only in Upside, North American issue of the magazine only. No Electronic rights granted. No Reprint rights granted. These rights may not be transferred by the client to a third party. Client may not reprint or sell the Images to anyone. 2. Copyright for all photographs is retained by the photographer and all rights are reserved. 3. Photo credit: © 2001 DanCoogan.com must accompany each use or invoice amount will be tripled. 4. Upside will supply the photographer with (2) copies of all published material within (30) days after first publication. 5. All transparencies are to be returned within (30) days after first publication via bonded courier.

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Document 173-2

CGN 01141
A copyright protection credit must appear adjacent to the images or the fee is tripled. © 2001 DanCoogan.com, All Rights Reserved TERMS AND CONDITIONS A. Definitions: "Photographer" refers to Dan Coogan. "Client" refers to the commissioning party or company named above, its representatives, successors, assigns, agents and affiliates. B. Payment: FULL PAYMENT MUST BE RECEIVED BY PHOTOGRAPHER PRIOR TO PUBLICATION. ANY USE PRIOR TO PAYMENT SHALL BE CONSIDERED AN UNAUTHORIZED USE. Client agrees that reasonable and stipulated amount which shall be paid by Client to photographer for use prior to receipt of payment by Photographer shall be three (3) times Photographer's customary fee for such usage. C. Grant of Rights: Grant of reproduction rights hereunder is conditioned upon Client's written acceptance of each term set forth in this agreement, including but not limited to, receipt of payment in full by Photographer and placing of the required copyright notice on each use of Photographer's work. All rights not expressly licensed to Client in writing remain the exclusive property of Photographer. Unless otherwise stated above, duration of license is six times the periodicity of the publication or ninety (90) days which ever comes first. D. Space Rates: All usage is quoted as a minimum against space. Any additional space rate will be billed as such upon publication. E. Photographic Direction/judgment: The Client shall be responsible for sending a qualified and authorized representative to the session. If no representative is present, the Magazine/agency must accept the Photographer's judgment as to the execution of the photograph and other related decisions. F. Return of Photographs, Destruction of Digital files & Return of Media: Client assumes all risk for all photographic material supplied by Photographer from time of receipt by Client to time of actual receipt of photographs by Photographer. Client agrees to return all such material in undamaged, unaltered and unretouched condition within thirty (30) days of receipt, or if a License is granted, within three (3) months of receipt by client or by first publication date, whichever is sooner, or such other period as is stated in writing herein. Client agrees to destroy all digital files within one week of reproduction. If the files were sent on digital media, all such material must be returned in undamaged condition within thirty (30) days of receipt. G. Film and Digital Media Holding Fees: A holding fee of five dollars & fifty cents ($5.50) per item per day shall be payable from the return date until time of receipt by Photographer unless otherwise indicated. H. Copyright Protection/Credit Line: For Editorial use, credit line in the form Copyright "© 2001 DanCoogan.com" in type no smaller than that of related text must appear adjacent to or within the photograph(s) or fee is tripled; Client acknowledges that such a triple fee is fair and reasonable for photographer's loss of recognition and lack of copyright protection resulting from lack of, or improper, copyright notice/credit line. WEB Credit: If image is used on the clients web site, credit credit line in the form Copyright "© 2001 DanCoogan.com" will act as a live link to http://www.DanCoogan.com. I. Indemnity: Client hereby indemnifies and holds Photographer harmless against any and all liabilities, claims, and expenses, including reasonable attorney's fees, arising from Client's use of Photographer's work. Client assumes insurer's liability (a) to indemnify Photographer for all loss, damage, or misuse of any photographs: and (b) to return all photographs prepaid, fully insured, undamaged, by bonded messenger or overnight delivery service. J. Loss or Damage: The parties acknowledge that it is difficult if not impossible to determine the exact value of each photograph subject to this agreement because of the duration of copyright protection and its present and potential value. Therefore, the parties have agreed that the reasonable value for loss or damage of each photograph is a sum no less than the amount indicated on the first page of this agreement. Client further acknowledges that its acceptance of this liquidated damage amount is a material consideration for photographer agreeing to deliver to Client the photographs subject to this agreement. In the event that Client infringes on Photographer's copyright in and to the works delivered herewith, then Photographer shall be entitled to obtain immediate injunctive relief to prevent further infringement and that Photographer shall not be required to post a bond to obtain injunctive relief, or if a bond is not waiveable, such bond shall not exceed $100.00. Photographer shall be entitled to recover the greater of Photographer's actual damages, or statutory damages in a sum not to exceed $20,000.00, in cases of non-willful infringement. In each instance, Photographer shall be entitled to recover reasonable attorneys' fees incurred and related costs in enforcing Photographer's rights under the United States Copyright Act, and under each federal or ancillary state law under which Photographer is awarded or granted damages. K. Alterations: Client will not make or permit any alterations, additions, or subtractions in respect of the photographs, including without limitation any digitalization or synthesizing of the photographs, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known. L. Default: In the event of non-payment or other breach of this Agreement by Client, Client shall pay all of Photographer's costs and expenses incurred in connection with enforcement of the terms of this agreement, including Photographer's reasonable attorney's fees. M. Releases: Photographer is not responsible for obtaining model, property, or other releases in connection with any of the photographs licensed herein unless specifically stated herein. N. Copies: Client shall provide to Photographer five (5) copies of each use of the photographs no later than the date of first publication. O. Miscellaneous: Client may not assign or transfer this license. No alterations may be made in any of these provisions without the express written consent of the Photographer. P. Reshoots: Client will be charged 100% fee and expenses for any reshoot required by Client. For any reshoot required because of an act of God or the fault of a third party, Photographer will charge no additional fee and Client will pay all expenses. If Photographer charges for special contingency insurance and is paid in full for the shoot, Client will not be charged for any expense covered by insurance. A list of exclusions from such insurance will be provided on request. Q. Cancellations: Cancellations and postponements: Client is responsible for payment of all expenses incurred up to the time of cancellation, plus 50% of Photographer's fee. If notice of cancellation is given less than two (2) business days before the shoot date, Client will be charged 100% fee. Weather postponements: Unless otherwise agreed, Client will be charged100% fee if postponement is due to weather conditions on location and 50% fee if postponement occurs before departure to location. R. Governing Law: This agreement incorporates by reference Articles II and III of the Uniform Commercial Code now in existence, in the State of Arizona, and the Copyright Act of 1976 as amended. This agreement shall be deemed to be a contract made under the laws of the United States of America and the State of Arizona and for all purposes shall be interpreted in its entirety in accordance with these laws. Client specifically and irrevocably confers personal jurisdiction over it by the courts of the State of Arizona or the United States District Court for the District of the State of Arizona. Client specifically waives all rights to contest each court proceeding on the grounds of personal jurisdiction, venue and forum nonconvenience. In the event of any award or judgement in favor of Photographer, or any settlement between Photographer and Client, arising from effecting and protecting Photographer's rights and benefits hereunder and/or any aspect of this agreement, Client shall pay all costs and expenses incurred by Photographer and/or Photographer's legal counsel related thereto, including, but not limited to, reasonable legal fees, arbitration and court costs, associated expenses, and legal interest on such award, judgement, or settlement. FULL PAYMENT DUE WITHIN TWENTY ONE (21) DAYS or PRIOR TO PUBLICATION WHICH EVER OCCURS FIRST. Make check payable to: COOGAN PHOTOGRAPHIC 3709 E. HARVARD ST., PHOENIX, AZ 85008-2228, 602.220.9192 SSN # 2

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Document 173-2

EXHIBIT 5
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Digital Photography Lectures and Workshops

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editorial photography, corporate photography, stock photography and stock photography research, digital photography, miami beach

Thursday, March 02, 2006

Lecture History SETH RESNICK LECTURE HISTORY 1995-PRESENT LECTURE SERIES ASMP New England 1995 ASPP New England An evening with Seth Resnick, photographer and superentrepreneur at marketing & transmitting photos via the Internet October 26, 1995 ASMP Biennial '96 Program The 1996 ASMP Biennial Conference Program and Speakers: Speakers: Pete Turner. Jodi Cobb. Lou Jones. Matt Herron. James Cook. Seth Resnick. ASMP - Long Island, New York
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"How to Make the Internet Work for You" A seminar presented by Boston ASMP photographer Seth Resnick January 27, 1996 ASMP Midwest Reinventing the Photographer March 30 & 31 1996 Seybold- New York Is Your Photo Future on Line: Speaker Seth Resnick Houston ASMP , Dallas ASMP Business Seminar and Internet Workshop September 19, & 20 1997 ASMP Tennessee December 5 &6 1997 Professional Photographers of America Digital Imaging Conference Las Vegas - January 9-11 1998 Palm Beach Photographic Workshop Jan 27-31 1998, July 1998, Oct 1998 Commercial & Industrial Photographers of New England April 24, 1998, Sturbridge, Ma New Hampshire Press Photographers Association Annual Meeting April 26, 1998, ASMP MidAmerica- Kansas City May 18, 1998, National Press Photographers Association National Convention Burlington, Vermont , June 20, 1998,
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Professional Photographers of America National Convention New Orleans- August 5, 1998 ASMP SouthEast Atlanta - August 28, 29, 1998, ASMP New England Boston - September 15, 1998, ASMP Ohio Valley Indianapolis - September 18, 19, 1998, New Hampshire Creative Club Manchester, N.H. - September 23, 1998 Syracuse University Newhouse School of Public Communications, Syracuse, N.Y, October 27, 1998 Philadelphia ASMP Community College Philadelphia , November 13 & 14 1998 PPA Rhode Island Convention Crowne Royal Plaza, Warwick, R.I. Sunday January 17, 1999 3:15-5:45 New England School of Photography (NESOP) Friday January 22, 1999, 9:30AM ASMP Connecticut Tuesday January 26, 1999, Ramada Plaza Hotel Meriden, Ct. ASMP Washington, D.C. February 6, 1999
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ASMP Northern California , San Francisco. October 5,1999 ASMP OHIO Cleveland, Cleveland Ohio. October15, 16 1999 ASMP Chicago , Chicago. October 22, 23 1999 PhotoPlus Expo East New York , New York. October 28, 29, 30 1999 ASMP South Carolina Beaufort, S.C November 12 & 13, 1999 ASMP Minneapolis , Minneapolis . November 20, 1999 RIT and Western NY ASMP Rochester. December 1 & 2, 1999 Editorial Photographers (EP) Boston ASMP. January 18, 2000 ASMP Arizona; Phoenix. February 11 & 12, 2000 ASMP San Diego. March 3, 2000 ASMP, APA, EP, PPA Los Angeles. March 4, 2000 ASMP Utah Mountains Salt Lake City.
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Digital Photography Lectures and Workshops

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New England School of Photography (NESOP) February 15, 1999, 9:00AM ASMP Central Florida Orlando February 26th & 27th, 1999, 9:00AM Vermont Photographers Association March 14, 1999, Ascutney Mountain Resort, Brownsville, VT. Virginia PPA Convention March 16, 1999 ASMP Baltimore March 20, 1999 ASMP Michigan March 26,& 27th 1999 ASMP New York April 7, 1999 ASMP PhotoPro, Washington, D.C. May 25, 1999 PhotoPlus West 99 Los Angeles, CA. June 17, June 18 1999 NPPA National Convention Denver, . July 3,1999 ASMP Western Retreat Colorado, . August 27 ,1999 Western Kentucky University , Kentucky . September 23,1999
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March 10 and 11, 2000 ASMP Seattle. March 17 , 2000 ASMP Portland. March 18 , 2000 ASMP Albuquerque, NM. March 24 , 2000 ASMP Central Virginia. April, 8 , 2000 ASMP Dallas. May 5, 2000 ASMP Houston. May 6, 2000 Contact Toronto's Annual Photography Festival. May 17, 2000 ASMP New Orleans. May 20, 2000 ASMP New Jersey. June 3, 2000 PhotoWest June 15-June 17, 2000 Sante Fe Workshops, NM. June 25-July1 , 2000
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Digital Photography Lectures and Workshops

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Brand Era Online Lecture . July 20, 2000 PPA USA Imaging Convention, Las Vegas, NV. July 29, 2000 ASMP Southern Florida, Ft Lauderdale Hilton . September 9, 2000 ASMP Michigan, University of Michigan, Ann Arbor, MI . October 28, 2000 New England School of Photography October 30, 2000 PhotoEast Plus, New York November 2-5, 2000 PPA Western Convention, Pasadena CA. January 24, 2001 ASMP Kansas City February 23 & 24th Copyright Law in the New Millennium New York, New York Fashion Institute of Technology March 22, 2001 Triangle Photographer Association Pittsburgh, PA March 25, 2001
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Digital Photography Lectures and Workshops

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ASMP ST. Louis May 12, 2001 Contact- Toronto's Annual Festival of Photography Toronto, Canada May 16, 2001 PhotoPlus West June 13-17 Los Angeles, CA The Illustration Conference June 24-27 Santa Fe, New Mexico Santa Fe Photographic Workshops July 15-July 21, 2001 Santa Fe, New Mexico Is Copyright an Ancient Practice? August 4, 2001 Chicago Colorado ASMP August 11 & 12th, 2001 Denver PhotoPlus Expo New York October 31- Nov 1,2001 New York PMA February 24- 27, 2002 Orlando, Florida Professional Photographers of Ohio Taking Digital to the Field
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Digital Photography Lectures and Workshops

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March 10, 2002 Columbus, Ohio Boston Graphic Artists Guild March 13, 2002 Boston Milwaukee APA - Negotiating March 16, 2002 Milwaukee Williston Northhampton School April 30, 2002 Easthampton, Ma Popular Photography SICILY May 18-26, 2002 Sicily, Italy University of Alaska June 5-9, 2002 Anchorage, Alaska Santa Fe Workshops July 14 -20, 2002 Santa Fe, New Mexico Apple Store NYC Made on a Mac August 14, 2002 New York, NY Professional Photographers of Canada August 17, 2002 Toronto, Canada OutReach EP September 24, 2002 Boston Professional Photographers of New England September 29, 2002 Sturbridge, MA Japan Professional Photographers October 23, 2002 Tokyo, Japan
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PhotoPlus October 31- November 2, 2002 New York, New York New England School of Photography November 4, 2002 Boston Apple Made on a Mac November 9, 2002 Cambridge, Ma CIPNE Taking Digital to the Field November 11, 2002 Sturbridge, MA ASMP Atlanta Taking Digital to the Field November 14, 2002 Atlanta D-65 Digital Workshop November 7-14, 2002 Key West and The Everglades, Florida PEI Digital Conference January 25, 2003 Atlanta ASMP Phoenix Taking Digital to the Field February 5, 2003 Phoenix D-65 Digital Workshop with Seth Resnick & Jay Maisel February 7-10 2003, Sedona, Az The Road to Corporate Photography- Parsons School of Design New York City March 10, 2003 Paca Digital Conference April 4, 2003, Montauk Yacht Club, Long Island, NY Syracuse University April 9 & 10 2003, Syracuse, New York
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Digital Photography Lectures and Workshops

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D-65 Digital Workshop May 3-10 2003, New York, New York Santa Fe Workshops June 22-28 2003, Santa Fe, New Mexico The Light Factory - Taking Digital to the Field July 26,2003 Charlotte, North Carolina D-65 Digital Workshop September 13-20 2003, New York, New York Boston Graphic Artists Guild September 24 2003, Boston D-65 Digital Workshop October 18-25 2003, Los Angeles, CA PhotoPlus October 30- Nov 1 2003, New York, New York APA South Florida- APA Atlanta Taking Digital to the Field November 7 2003, Miami, Fl D-65 Digital Workshop November 8-15 2003, Miami, Florida
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All photographs, text and html coding appearing in the Seth Resnick Photography site are the exclusive intellectual property of Seth Resnick and are protected under United States and international copyright laws. The intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Seth Resnick and payment of a fee or arrangement thereof.

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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright. Seth Resnick Photography vigorously protects copyright interests. In the event that an infringement is discovered you will be notified and invoiced at the minimum10x the STANDARD FEE for unauthorized usage and/or prosecuted for Copyright Infringement in U S Federal Court where you will be subject to a fine of US$150,000 statutory damages as well as all court costs and attorneys' fees. By entering this site you are agreeing to be bound by the terms of this agreement. Entrance to site is expressly on these conditions which embodies all of the understandings and obligations between the parties hereto. ALL ENTRIES ARE LOGGED. To secure reproduction rights to any images by E-Mail send to [email protected] or call Seth Resnick Photography (305) 373-4459

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