Chronology Of Pop

The singularity of the collection is that it is so comprehensive. It illustrates the history of pop music from the beginning up to the end of the 20th century. The collection is like a kaleidoscope and virtually a complete picture of a cultural epoch. It opens the door to scientific insight into the entire period, or into a single artist.
"In this captivating presentation ...a new individualism is mirrored", which Tom Wolfe in an essay in 1976 on the "Me-Decade" so aptly portrays. And how profitable for both sides the relationship between the photographer and the star was, becomes evident in this collection. And, indirectly, also illustrates how the world of glamour has changed. Today the stars take their own pictures, "selfies", posting them in the internet. Instead of iconic photographs, important is only the daily "Instagram-presence", to which the photos in the collection often present a marked contrast. On the other side, exactly these photographs smoothed the way to the "selfie-illusion" which earmarks our modern daily life." ("Süddeutsche Zeitung", 16 Sep. 2016, P. 62.)

Rolf Stang had just short of 40 years a professional access to almost all of the photos offered on this market, which were taken by some 861 photographers on the actual international pop-scene. Among these, top photographers are to be found.(1)
Worldwide Rolf Stang used 112 different, specialized photo agencies (2) all published photos used for promotions by the 38 record companies (3) as well as the 42 most important TV- and film production companies (4) of that time.
In addition, Rolf Stang also received various personal photos from many photographers with whom he was on friendly terms. He even inherited a complete photo-archive. (5)
Here you will discover some 12,000 photographs of virtually all the famous artists who comprised the historical pop music epoch of the second half of the 20th century , as well as their various bands (6), on stage, in the studio or in private.
These photographs include artistic single photographs for posters, record covers, book covers, etc.

To complete the display of the entire pop arena there is also an additional small collection of some 3,400 motives from film, TV, sport and youth culture in general. This additional smaller collection is not as complete as the main collection in respect to the culture and history of pop music. For this reason this smaller collection is included gratis with the main collection.

No! A worldwide photo-agency market no longer exists. The single survivors of almost 1,000 well known agencies back then are Getty and Corbis. These two giants would certainly never assist in building such a collection as this. Not even if one or the another photograph were to be found in their collection.
Earlier sources available to Rolf Stang, (for example, large record and production companies), have disappeared or have no legal successors. The same applies to the almost all the publishers of that time. The professional photographers - if they are still living - to put it mildly, are well advanced in years ? why should they help in constructing such a collection (again)? One could assume that most of them never did archive their own photos or no longer have them at their disposal.

The worldwide largest specialist in art insurance, “AXA Art Versicherung AG”, in 2015, estimated the commercial worth of the collection to be 1.2 million Euro.

There is no appraisal as to the real cultural worth of this collection. There is simply no known comparable collection.

Yes. A copyright for each individual photo could be obtained by the owner from the author. The necessary information for this can be obtained from the original dia frame which would be copied exactly to any new frame. They are coded and can be identified on just about every mounted diapositive.
Via the Internet, one can find the photographers or copyright owners, insofar as these still exist and with whom one can be communicate. Should, however, appropriate details for one reason or another be missing, Mr. Stang would be only too happy to offer his expertise regarding any open questions. This offers the highest possible assurance that the provisions of Para.15 ff of the copyright law are fulfilled.

Normally: No. However, all rights regarding copyrights concerning the collection inherited by Rolf Stang from Czarnowski (ref FAQ 1. footnote No. 5) are property of that Collection as defined by Para.15 ff of Copyright Law (Germany). An extensive legal expertise by the Legal Offices of Prof. Dr. Hertin, Berlin, may be requested. The expertise is, in any case, confidential.

Bavarian Television (on 16 Jan. 2016) came to the conclusion that: "...this collection should belong to the World Cultural Heritage... (7)
The Collection should have a permanent place in a suitable museum, the library of a university or other suitable public location where it could be displayed. A trust, a patron or a financially well situated organization would be ideal for the continued existence, care of and/or the further development of the collection.
The South German Newspaper, "S?ddeutsche Zeitung" published on 13/14 June 2016 an extensive article on the collection and the collector titled "Jimi Hendrix im Stahlschrank" ("Jimi Hendrix In a Steel Locker"). (8)

Most important is safeguarding the colors. This means to digitalize of all the photos, at least those deemed most important by the experts.
Why? Because most of the slides are decades old. They have been stored in PVC hanging file folders. It is well known that the diapositive colors fade with time. However, there is no reliable information as to the time frame in which the damage becomes irreversible. Furthermore, the decay time frames differ for the various manufacturers i.e. Kodak, Ektachrome, AGFA etc. In any case, experience has shown that a time frame of several decades is critical. In addition is the fact that in the manufacturing of PVC hanging files softeners are employed.
For this reason Rolf Stang employed only the safest possible storage folders at considerable higher cost. (9)

On nostalgic grounds, Rolf Stang has not previously made a concerted effort to sell or publish the collection ? even though, due to advancing age, he did not feel adequate to administrate, possibly update or further develop the collection. A further consideration is that he has no adequate heir for the collection.