ACMP
News
excerpts from the latest edition
 
the
Editor's
 desk
Welcome
to another edition of ACMPNews. Firstly thanks to those readers
who responded to the last issue of the magazine. Your feedback and
constructive comments are always welcome. As with most things, the
product will only be improved with the input and idea's of interested
people. Keep it up. As each issue is assembled, themes often seem
to develop. In this edition you will notice that several articles
relate to the work of ACMP volunteers and the various roles they
fulfil.
Firstly, the
president of ACMP, Peter Adams, has unfortunately found it necessary
to step down from the board. Facing personal health difficulties,
Peter has had to make a number of changes to his lifestyle and the
demands of serving the ACMP have proved too much. On behalf of the
board and the wider membership I would like to thank Peter for his
hard work and energetic promotion of the industry over many years.
Never one to tolerate apathy, Peter constantly pushed for a reaction.
(And usually he got one! See this issue's "presidents message")
All the best Peter.
In other changes
to the voluntary workforce, Chris Shain has handed over responsibilities
for copyright issues to Philip Quirk and Mary Cameron. Milton Wordley
has passed the Chair of the Fuji Collection committee to Gavin Blue.
Erin Davis has started working with Tony Page on the up-keep of
the ACMP web site. The news Erin turns up should benefit this magazine
too.
This is a good
time to thank the designer of ACMPNews for her great work. Ros Hyndman
has been responsible for the look of the last 5 magazines. It is
her work that turns the ramblings of a few barely literate photographers
into the classy product that many of you are proud to have on your
coffee tables. Thanks Ros.
The midyear
issue of ACMPNews already looks like taking on a photojournalism
feel. I have a feeling that the "M for magazine" in our organisation
is probably the most overlooked sector. With articles, interviews
and pictures, we will explore the life of the photojournalist. While
many commercial photographers earn a good proportion of their income
from servicing the magazine market, there are many more photographers
whose work is exclusively based in newspapers and editorial work.
Very often the rates are poor, copyright ownership is disputed and
I'm sure there is more that the industry can do to support these
shooters. If this is your situation, now is a good time to drop
me a line.
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