January 31, 1978 STORM-TRACK Vol. 1, No. 2

Fairfax, Virginia $1.80/year Bi-monthly

I. COMMENTARY [by David Hoadley]
Your response to the first edition was very encouraging; “good vibes” all the way, with
several individuals indicating interest in or currently preparing articles for submission.
STORM-TRACK will be going to subscribers in Colorado, Florida, Illinois, Iowa, Kansas,
Missouri, Oklahoma, Texas and Virginia.

II. ROSTER
Name Address Chase country — range
Dr. Charles A. Doswell III 5432 N. Indiana Texas to Nebraska, Colorado to missouri
Kansas City, Mo. 64119
(Biography: Age 31, married/one 2 year old son;
Employer – National Severe Storms Forecast Center.
Began chasing in Oklahoma and Texas in 1972.)

Ed. Note: The purpose of the Roster is to let other chasers know of those interested in
making contact and corresponding. Unless subscribers volunteer information in this fashion,
I will respect their privacy and not mention them here.

III. BULLETIN BOARD/COMMERCIAL MARKET -$- FOR PICTURES
Photo Researchers, Inc. 60 East 56th Street, New York, New York 10022

This organization was referred to me by publishing acquaintances in New York. I wrote PR for
additional information and received a very positive letter of response, along with a 4-page
“Standard Photographers Exclusive Agency Agreement.” The letter of December 29, from Jane S.
Kinne, indicated “extreme interest … Weather is one of the most commonly asked for
subjects of a photo library such as ours.” They accept only positive color transparencies
and 35 mm are preferred, provided they are originals. Duplicates are specifically excluded.
The “Agreement” (or contract) is required of every photographer who participates in their
referral service. They “do not purchase any rights; whatsoever” but reimburse for the
portion of each reproduction right that is sold. Copyrighted slides are accepted, provided
that information on the nature of the copyright is accurately presented to them. It is
requested that photographers “do not make use of any other commercial agency but if they are
writing articles and submitting them direct, that is perfectly all right.” However, PR
should know of any rights sold on pictures that they hold. Unless submissions are previously
copyrighted, PR applies the “universal copyright.” At the end of the contractual agreement,
all original color is returned to the photographer. However, PR assumes no liability for
failure to return, owing to loss or damage “through normal use.” The range of compensation
depends entirely on the use and not on the nature of the photograph; minimum you could
receive might range from $50 to an average of $l5O, with some going “much, much higher if
they are in advertising.” Here is a summary of the “Agreement.”

PR is the “sole and exclusive” agent for the sale or lease of your photography. Sales are
infrequent but -if a prospect- the photographer is contacted for his/her release (transfer
of ownership). Compensation will be “(50%) of the total net sum billed and collected by [PR
minus”> an initial $25.00 registration fee deductible from the first sale.” Some additional
incidental costs may be charged to the photographer’s account for such items as initial
copyright procedures for unregistered work, protective sleeves for unprotected slides, etc.
— The photographer agrees to “refrain from actively soliciting or selling” directly to
customers to whom PR has introduced him. Initially, slides should be sent to PR in
protective sleeves, with brief descriptive captions along with the signed agreement. All
slides are returned with certain ones checked for resubmission with complete descriptions,
copyright information, and “model releases” for any individuals in the pictures. “Release”
forms can be requested from (or will be sent by) PR. The photographer must certify as to his
exclusive ownership of submissions “delivered … now and in the future.” If submissions are
not already copyrighted, PR can do so either in its name or the photographer’s. If the
former is done, PR agrees to “reassign such copyright” to the photographer upon his request.
The photographer agrees “to resume all responsibility for all claims resulting from
erroneous and inaccurate information supplied … regarding ownership, caption information
and model releases “In the event of damage, destruction, loss or unauthorized use” of
photography by their customers, PR has full authority to “make claims or institute suit” in
the photographer’s name. Recovery therefrom is divided 50/50 after deducting for legal fees,
etc. However, PR is not liable “for any loss or damage” unless caused by PR’s own “gross and
willful negligence.” Black and white prints are not returnable. There is a clause that the
photographer agrees to contribute new pictures on a regular basis and agrees to follow PR’s
“ideas and suggestions with regard to producing photos that are saleable” or an “annual file
maintenance charge” will be assessed. Additional inquiry to PR indicates this is not,
binding on the photographer and assessments normally are not made. The intent is to
discourage the casual submitter of 2 or 3 pictures, who they don’t hear from again for five
years. The agreement specifically says that this “does not constitute an employment
agreement” between PR and the photographer, and that his status is “solely that of an
independent contractor.” — The agreement is for a minimum of 5 years and automatically
renewable for a like period unless terminated by either party 60 days before the expiration
date. Submissions remain with PR during the 5 years from the date of the agreement, with up
to 3 years allowed for return of submissions upon recall. Cost of earlier retrieval (usually
minimal) is borne by the photographer.

IV. CAMERA TIPS
For slide projecting I suggest using duplicates, since all color dyes fade in time and
repeated projection hastens this process. According to the January issue of Modern
Photography, Kodachrome dyes are longest lasting; slides are more durable than negatives;
Cibachrome prints are -likewise- recommended; and cool (up to 70 deg F), dry (RH 15-40%) and
dark storage is best. Beware of casual refrigeration — read MP.

FUNNEL FUNNIES: A Chase Should Be Well Organized!

— Contributed by John Weaver

V. TRAVEL TIPS
VI. FEATURE – Copyright [by David Hoadley]
Addition to last, issue’s feature; You need only submit one copy of a published work to the
US Copyright Office for registration of your pictures therein, if they are a “contribution
to a collective work.” This is necessary despite prior registration as an “unpublished”
work, however -once done- these pictures need not be registered again, regardless of
additional publication. Leave blank Form-VA spaces not applicable..

Next issue kicks off the 1978 storm season. A timely Feature will be lightning safety for
chasers. please send me any information or personal experiences that you have on this
subject; e.g. how close should you be to a higher object for it -and not you- to draw the
bolt, how reliable is the belief that the highest object “always” draws the bolt, what
physical sensations may precede a gathering discharge, etc. Considering all hazards, I
believe lightning to be the greatest danger to storm chasers. Let’s try to keep safety
foremost!

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