tag:blogger.com,1999:blog-70498892329839574172024-02-07T10:12:07.419+00:00Pete Jenkins Photo ThoughtsObservations from a photographer based in the East MidlandsPete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.comBlogger41125tag:blogger.com,1999:blog-7049889232983957417.post-60569488444870054972015-06-28T11:55:00.000+01:002015-06-28T16:24:00.636+01:00Creators working together?<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">I have been reading with great interest the open letter sent by Taylor Swift to Apple in response to their very generous offer of giving away other peoples work for free (musicians work that is), and how Apple have done a very sensible about turn in the face of mass public pressure (no one wants to look bad in front of their customer base) To <a href="http://taylorswift.tumblr.com/post/122071902085/to-apple-love-taylor" target="_blank">Apple Love Taylor</a></span><br />
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<span style="font-family: Verdana,sans-serif;">Even greater interest for me was the <a href="https://junction10.wordpress.com/" target="_blank">second open letter</a> written by my friend Jason Sheldon, a successful and skilled concert Photographer, in which he publishes the 'Concert Photo Authorisation form' that all photographers have to sign before they can photograph Ms Taylor in action for their publications.</span><br />
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<span style="font-family: Verdana,sans-serif;">Ms Taylor's contract demands access to all the photographers concert photos for free, not just for three months as Apple had intended with Ms Taylor's work.</span><br />
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<span style="font-family: Verdana,sans-serif;">Of course to music and concert photographers this kind of rights grab will not be a novelty. I have a personal collection of scores of these unfair contracts. Some go as far as to demand ownership of work done, and even to demand that the photographer then indemnify the band group for any losses they incur, and most insist on ownership (copyright) of the photographs for the band to do with as they will - all of course at the expense of the photographer who is not allowed to use or licence the images he or she has worked so hard to get.</span><br />
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<span style="font-family: Verdana,sans-serif;">As a result of these <b>'sign and give away your work and rights'</b> or <b>'don't sign and don't take photograph'</b> contracts I have largely pulled out of concert photography. Too many times, I have arrived at the venue, sometimes after travelling several hours to be presented with a contract that has to be signed at the door of the venue minutes before the performance commences. Not even the common decency to send out the contract when the access has been confirmed by e-mail. Clearly, those issuing these contracts know they are unfair, so they issue them only when the photographer is under the most pressure - as they are about to go into the gig. No chance to get them vetted legally etc.</span><br />
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<span style="font-family: Verdana,sans-serif;">Interestingly enough the Independent followed up Sheldon's piece with <a href="http://www.independent.co.uk/arts-entertainment/music/news/taylor-swift-hits-back-at-photographer-who-accused-her-of-hypocrisy-after-apple-protest-10338309.html" target="_blank">a response</a> from Taylor Swifts 'people'. In the piece:</span><br />
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<span style="font-family: Verdana,sans-serif;"><i>"Swift's UK spokesperson has now responded with the following statement:
"The standard photography agreement has been misrepresented in that it
clearly states that any photographer shooting 'The 1989 World Tour' has
the opportunity for further use of said photographs with management's
approval."</i></span><br />
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<span style="font-family: Verdana,sans-serif;">Ok, yes it does, but I wonder how easy or difficult that permission would be to get? From Firefly? Swifts management team, I wonder how many photographers have received such permission easily and quickly without any kind of hassle?</span><br />
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<span style="font-family: Verdana,sans-serif;">It goes on:</span><br />
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<span style="font-family: Verdana,sans-serif;">""Another distinct misrepresentation is the claim that the copyright of
the photographs will be with anyone other than the photographer - this
agreement does not transfer copyright away from the photographer."</span><br />
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<span style="font-family: Verdana,sans-serif;">Actually there was no such misrepresentation, What Sheldon actually says is:</span><br />
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<span style="font-family: Verdana,sans-serif;"><i>" it appears to be a complete rights grab"</i></span><br />
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<span style="font-family: Verdana,sans-serif;"> And that it is; and it goes on and demands that you are granted free and unlimited use of our work, worldwide, in perpetuity.. Now that isn't a transfer of copyright, but no one ever said it was. Perhaps Taylor's UK representative simply does not understand copyright<span style="font-size: small;">?</span></span><br />
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<span style="font-family: Verdana,sans-serif;">She could revise it here <a href="http://www.legislation.gov.uk/ukpga/1988/48/contents" target="_blank"><span style="font-size: small;">Copyright, Designs and Patents Act 1988</span></a></span><br />
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<span style="font-family: Verdana,sans-serif;">Of course swifts UK representative total omits to deal with the fact that the agreement demands that you are granted free and unlimited use of our work, worldwide, in perpetuity. And Swift wasn't happy (quite rightly) with Apple taking only three months!!!</span><br />
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<span style="font-family: Verdana,sans-serif;"> But we are told the agreement has been updated. Yes, yes it has. If anything it is even worse...</span><br />
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<span style="font-family: Verdana,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEBChbya01b5DIp0PTRyOvFxGG_BthqyJLwujBejSAqT9kLjuOeHfI8Uh50K5n3Nhz7tMq1MWb5FwXPZPKh-H4BMpbkvPeULwhT6gY54a7CFRGSDpR5xWgkdh5yvEjV4z55jHcJGuJLQA/s1600/1981+Taylor+Swift+tour+photo+authorization+form.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEBChbya01b5DIp0PTRyOvFxGG_BthqyJLwujBejSAqT9kLjuOeHfI8Uh50K5n3Nhz7tMq1MWb5FwXPZPKh-H4BMpbkvPeULwhT6gY54a7CFRGSDpR5xWgkdh5yvEjV4z55jHcJGuJLQA/s640/1981+Taylor+Swift+tour+photo+authorization+form.jpg" width="494" /></a></span></div>
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<span style="font-family: Verdana,sans-serif;"> I would draw your attention dear reader to paragraph 3:</span><br />
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<span style="font-family: Verdana,sans-serif;"><i>"On behalf of yourself and the Publication, you expressly grant FEI, and its related entities, including, but not limited to 13 Management, LLC; Taylor Nation, LLC; and Taylor Swift Productions, Inc. (the “Related Entities”), the perpetual, worldwide right to use the published Photographs for any non-commercial purpose (in all media and formats), including but not limited to publicity and promotion on their web sites and/or social media accounts or pages."</i></span><br />
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<span style="font-family: Verdana,sans-serif;"> There it is again free use for ever and a day, and this includes publicity and promotion (generally regarded in the industry as Commercial use by the way)</span><br />
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<span style="font-family: Verdana,sans-serif;">And Paragraph 5 is good too:</span><br />
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<span style="font-family: Verdana,sans-serif;"><i>"If you fail to fully comply with this Authorization,<span style="color: red;"> authorized agents of FEI, the Artist or the Related Entities may confiscate and/or destroy the technology or devices that contain the master files of the Photographs and other images, including, but not limited to, cell phones and memory cards, and the Photographs and any other images; </span>and eject you from the venue, in addition to any other remedy available to FEI, Artist and/or the Subjects. You and the Publication jointly and severally shall indemnify and hold FEI, the Artist, the Related Entities and the Subjects harmless from and against any and all claims, losses, injury,<br />damage, and expenses incurred by any or all of them arising out of this Authorization and/or the undersigned’s attendance at the Concert. You and the Publication hereby release FEI, Artist, the Related Entities, their officers, directors, employers, contractors, and agents, and the Subjects from and against any and all liability arising out of this authorization and/or your attendance at the Concert"</i></span><br />
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<span style="font-family: Verdana,sans-serif;">They give themselves permission to confiscate or destroy? Even the police are not allowed to do that!! </span><br />
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<span style="font-family: Verdana,sans-serif;">This has to be one of the worst band agreements I have ever seen. Compare it to the reasonable one I refer to later in this blog. </span><br />
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<span style="font-family: Verdana,sans-serif;">Taylor Swifts Management Company Firefly are not the only ones who try and restrict Photographers to a point where covering the band is simply uneconomic. The well known and popular singer Kylie Minogue's management company Darenote Limited go a step further and demand that the photographer assign copyright. (see note 2.)</span><br />
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<span style="font-family: Verdana,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglEmxkWRvu6_c0n4-5vWTr5B8Y9XeX5bo29xDfMCY1iLg6c5Z90NUKGAFPZrULoaneZUUQeyk5ng_33EiIQ3-UKP4c_dMUuAUAKyChQN0HQZLXnTGw0StlWG4XVFBt_gzgYDDmjSr4lR0/s1600/150624+Kylie+contract.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglEmxkWRvu6_c0n4-5vWTr5B8Y9XeX5bo29xDfMCY1iLg6c5Z90NUKGAFPZrULoaneZUUQeyk5ng_33EiIQ3-UKP4c_dMUuAUAKyChQN0HQZLXnTGw0StlWG4XVFBt_gzgYDDmjSr4lR0/s640/150624+Kylie+contract.jpg" width="451" /></a></span></div>
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<span style="font-family: Verdana,sans-serif;"><i>"We shall own and you hereby assign to us the copyright in and to the Photographs"</i></span><br />
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<span style="font-family: Verdana,sans-serif;">As if it makes it all OK then say (note 3):</span><br />
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<span style="font-family: Verdana,sans-serif;"><i>"We shall not exploit the photographs in any manner without your consent"</i></span><br />
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<span style="font-family: Verdana,sans-serif;">(By this they mean they can use the images for their own use, but will not in anyway sell them on or licence them to third parties)</span><br />
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<span style="font-family: Verdana,sans-serif;">But then confusingly go onto say (note 4) </span><br />
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<span style="font-family: Verdana,sans-serif;"><i>"We shall be entitled to assign transfer sub-license mortgage charge or otherwise dispose of our rights hereunder to any person or entity without reference to you</i>."</span><br />
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<span style="font-family: Verdana,sans-serif;">Wow. Now that is a real rights grab!!!</span><br />
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<span style="font-family: Verdana,sans-serif;">What has probably not been made clear to the reader so far; indeed I don't believe it has been mentioned in any discussion of band-photographer contracts, is that the photographer does not get these 'contact or agreements' in advance of the show. No! In every circumstance I have experienced, and in every circumstance that fellow photographers tell me of, these contracts are handed to the photographer as they are about to enter the venue, and always on a 'sign or you don't get to photograph' basis. If the photographer queries the legality of the document - we all do, then of course there is no way of discussing or negotiating a change as the venue staff have no control or jurisdiction. The answer is always:</span><br />
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<b><span style="font-family: Verdana,sans-serif;"><i>"We have been told sign or no photographs!"</i></span></b><br />
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<span style="font-family: Verdana,sans-serif;">Does that sound right? </span><br />
<span style="font-family: Verdana,sans-serif;">Does it sound fair? </span><br />
<span style="font-family: Verdana,sans-serif;">Does it come across as a legitimate way to do business?</span><br />
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<span style="font-family: Verdana,sans-serif;">If a photographer is employed, then he or she is being asked to sign a legal document that in all probability they have no authorisation to sign, and without the publications legal department having the option to look at it. Also without the option of discussion.</span><br />
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<span style="font-family: Verdana,sans-serif;">If, as most are, the photographer is either a sole trader, or a self employed person asked to attend the concert by a publication, then the situation is worse. Not only do they not have the authorisation to sign on behalf of a publication, but inevitably they are dependent on selling the photos to their client in order to earn that day. Travelling seventy miles to a gig, and then being presented with a legal looking document that you can't possibly sign is not good for your average freelance. If they do decide to sign and cover the gig then there is only the one reproduction fee from the initial client - the photographer then has no control of their clients (or their own) future use of their own created work.</span><br />
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<span style="font-family: Verdana,sans-serif;">Or worse still, the photographer doesn't sign, doesn't get paid, and can't even recover the expenses (mileage etc).</span><br />
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<span style="font-family: Verdana,sans-serif;">Fortunately, such restrictive contracts or agreements are still comparatively rare, and only a small percentage of bands issue them. <b><i>But that percentage is increasing!</i></b></span><br />
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<span style="font-family: Verdana,sans-serif;">Bands are keen to protect the commercial exploitation of their image - marketing t-shirts, gifts, memorabilia and suchlike, and they have every right to do so. </span><br />
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<span style="font-family: Verdana,sans-serif;">Photographers and bands/musicians should work together in this. </span><br />
<span style="font-family: Verdana,sans-serif;">No images = nothing to exploit of course. </span><br />
<span style="font-family: Verdana,sans-serif;">But it should be working together not one party cynically exploiting the other - <i><b>as Apple initially intended</b>.</i></span><br />
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<span style="font-family: Verdana,sans-serif;"><i> </i> </span>
<span style="font-family: Verdana,sans-serif;">So what would a reasonable agreement look like you want to know? I am glad you asked because I happen to have one here...</span><br />
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<span style="font-family: Verdana,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjopvWKsHu1mKeSO0DXFVSQWSFXKADW2nl8rw9lZ-Brve_qCCH4HAXkFBvQFBCoNvMZz4dSXw7PR0E1fFdHRBk2sC6B9Fl5rhtgpaXe6JZq1aJt_D8X6cq-gOd9CazmxyLl82m7AKT9U/s1600/150623+Photographer+Arists+agreement.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjopvWKsHu1mKeSO0DXFVSQWSFXKADW2nl8rw9lZ-Brve_qCCH4HAXkFBvQFBCoNvMZz4dSXw7PR0E1fFdHRBk2sC6B9Fl5rhtgpaXe6JZq1aJt_D8X6cq-gOd9CazmxyLl82m7AKT9U/s640/150623+Photographer+Arists+agreement.jpg" width="640" /></a></span></div>
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<span style="font-family: Verdana,sans-serif;">Nothing here to make anyone's eyes
water. Protects the artist - ensures that the editorial photographer does
not sell on photographs to competing commercial concerns etc, and
protects the photographer too, by ensuring that there aren't any of
those nasty rights grabs, demands for free pictures or control of
reproduction.</span><br />
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<span style="font-family: Verdana,sans-serif;">What about outside music?</span></h4>
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<span style="font-family: Verdana,sans-serif;">As many photographers will be able to tell you, unfair contracts are not limited to bands and music.</span><br />
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<span style="font-family: Verdana,sans-serif;">Editorial photographers all over the UK, (actually the world), are getting clobbered by unfair work conditions in the form of over zealous contracts, and inevitably they are presented as - 'sign or don't work'.</span><br />
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<span style="font-family: Verdana,sans-serif;">When Johnston Press made so many of its staff photographers redundant, and offered to take some of them back on as freelance workers, there seemed to be little in it for the photographers. They lost the security of their paid job, company vehicle, company equipment, paid holidays, sick pay and simply found themselves being asked to do the same job for less money, a lot more expense, and they were still expected to sign away they rights to their own work!</span><br />
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<span style="font-family: Verdana,sans-serif;"><span lang="EN-US"><span style="mso-list: Ignore;"><span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;"></span></span></span><i><span lang="EN-US"> "You irrevocably waive any
rights that you have or may in future be entitled to under the Copyright
Designs and Patents Act 1988 and any other moral rights to which you may be
entitled under any legislation now</span><span lang="EN-US"> existing or in future enacted in any part of
the world, in respect of the work provided by you</span>"</i></span></div>
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<span style="font-family: Verdana,sans-serif;">Barcroft Media (an international media content company based in
London, England.) made this part of an agreement with contributing photographers:</span><br />
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<![endif]--><span style="font-family: Verdana,sans-serif;"><i><span style="font-size: small;"><span lang="EN-US" style="color: black;">"Photographer agrees to work for Barcroft as an
independent contractor, providing photography-related services upon assignment
from Barcroft. Photographer agrees to
transfer all photographs to Barcroft immediately upon completion of an
assignment. Photographer further agrees not to sell any image taken during the
contracted event to any other person or business without Barcroft’s express
written permission." </span></span></i></span></blockquote>
<span style="font-family: Verdana,sans-serif;">and</span><br />
<span style="font-family: Verdana,sans-serif;"><br /></span>
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<![endif]--><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span lang="EN-US" style="color: black;"><i>"All of Photographer’s work
while on assignment for Barcroft will be considered work-for-hire under the
United States Copyright Act of 1976. All photographs and images,
inclusive of electronic files and other materials related to them, are the
property of Barcroft."</i></span></span></span></blockquote>
<br />
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Work for Hire is of course a US phenomenon, and under UK law the photographer is still regarded as a freelance and therefore retains copyright. To demand copyright in this aggressive manner is totally counter to the spirit and legality of the UK's <a href="http://www.legislation.gov.uk/ukpga/1988/48/contents" target="_blank">Copyright, Designs and Patents Act 1988</a></span></span></div>
<div class="pageTitle">
<br /></div>
<div class="pageTitle">
<br /></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> A National Magazines contract also has a rights grab as one of its main clauses:</span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div>
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<blockquote class="tr_bq">
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<i><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">"ALL
RIGHTS" means National Magazine acquires the entire worldwide copyright in
the material and all other intellectual property rights in the material for all
uses including but not limited to all rights to use the material in any and all
electronic and digital formats and for use on the Internet Magazine web sites
and any future medium for the full period of copyright therein and all renewals
and extensions thereof and all rights of a like nature wherever subsisting. In
the respect of Photography this includes all images shot during the
commissioned assignment and if requested all images must be supplied."</span></span></i></div>
</blockquote>
<div class="pageTitle">
</div>
<div class="pageTitle">
<br /></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">The telegraphmediagroup have a similar clause as part of their terms and conditions:</span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div>
<blockquote class="tr_bq">
<i><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">"We
and those authorised by us, shall have an irrevocable, assignable
licence for the period of copyright in such work to use, and exercise
all rights in, any such work in any publication or service and in any
current or future media worldwide,"</span></span></i></blockquote>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> EMAP and EMAP active:</span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div>
<blockquote class="tr_bq">
<div class="pageTitle">
<i><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">"By signing and returning this agreement to us, you irrevocably and unconditionally assign to us by way of present assignment of present and future copyright, the entire copyright in the commissioned works throughout the world (including any amendments and extensions to that copyright). You waive an and all moral rights you have in the commissioned works."</span></span></i></div>
</blockquote>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div>
<div class="pageTitle">
<h3>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Why is it that publications seek 'all rights' in this way? </span></span></h3>
</div>
<div class="pageTitle">
<br /></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Clearly publishers recognise the value of the photographs supplied. Under normal circumstances a staff photographer who is paid by a publisher to work for a magazine or newspaper, or publishing group, by virtue of being employed has the copyright of his work related material vested in the company. The company pays wages, holiday pay, sick pay, travel expense (usually a vehicle) supplies photographic kit (not inexpensive), and all the expenses incurred whilst undertaking assignments. A freelance on the other hand gets paid a commission fee for the assignment, or when the work is submitted speculatively a fee for the use. Usually subject to a minimum, and the larger the picture reproduction, better the position etc., the greater the fee. A freelance commission is traditionally submitted on a 'first use' basis.</span></span></div>
<div class="pageTitle">
<br /></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Some photographs have a greater value than simply this 'first use', and a photographer following a good business model will want to exploit such value in the form of secondary and subsequent sales. Clearly, not every photograph will sell in this way so it is a welcome extra for a photographer when such an opportunity occurs.</span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Occasionally, the publication will want to use a photograph a second time to illustrate a similar story on a later date, and it is almost always more cost effective to use a picture used before at a discounted rate than commission a photographer to cover the event, occasion or person again.</span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Photographs from a photographer's stock archive are usually less expensive to licence than commissioning a photographer to cover an event, and sometimes of course a particular instance is not repeated. Photographs of say the 'Cantona kick', or 'the first streaker at Wimbledon', have a value because of their rarity.</span></span></div>
<div class="pageTitle">
<br /></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Sometimes the (unnecessary) requirement to acquire 'all rights' are down to the desire to sell on the photographs to third parties, and deliberately cut out the creator from any remuneration gained. Something traditionally the photographer has been able to do to boost his or her own income.</span></span></div>
<div class="pageTitle">
<br /></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Others might put it down to corporate laziness (or greed) in that if one only has images in one's own photo-library that are licence free, then no one has to 'waste time' contacting photographers, or indeed paying for the extra often unconnected uses. Saves staff time and reproduction fees, and the only person to lose out is - the photographer. </span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div>
<br />
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span></div>
<div class="pageTitle">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"></span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">If a multi-million pound business makes an extra couple of thousand pounds from a photographer becasue they don't pay subsequent reproduction rights, or because they syndicate a few sales, the advantage to that company is totally insignificant. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">For a photographer to lose those few thousand pounds can be a sizeable percentage of a year's profit, in many cases, twenty or even more percent. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Does it sound fair? </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">Is it right?</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">It is appalling when one sees businesses like publications, that are reliant on their content providers squeezing those suppliers, for every last drop, for no reasons other than they think they can, and it is a few more pennies to the shareholders. </span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"></span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">All
creators, whether they are writers, musicians, photographers, sculptors,
painters are all easily exploited by the ruthless and the cynical. It
makes sense in this increasingly business-led world for them to work
together and support each other. </span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">How much worse is it when you see one creator exploit another for no reason other than greed? </span></span></div>
<div class="pageTitle">
<br /></div>
Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-7391886763017034532014-12-19T21:24:00.002+00:002014-12-20T17:04:42.000+00:00Do You Want A Sweetie little Photographer?<!--[if gte mso 9]><xml>
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<br />
<h1>
</h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">I have recently completed my application for the 2014 Design
and Artists Copyright Society’s ‘<a href="http://www.dacs.org.uk/for-artists/payback/membership/frequently-asked-questions"><span style="color: blue;">Payback</span></a>’.
Something I do every year during the summer.<span style="mso-spacerun: yes;">
</span>Indeed, something I have done for many years, since the scheme was first
made available to photographers.</span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">But this year it has not been the same and many
photographers have queried the extended mandate that we have been asked to sign
– BEFORE we are able to collect that money that has already been collected on
our behalf.</span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<h2 style="tab-stops: 138.75pt;">
<span style="font-family: Verdana,sans-serif;">What is ‘Payback’<span style="mso-tab-count: 1;"> </span></span></h2>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Best explanation is the one that <a href="http://www.dacs.org.uk/for-artists/payback/frequently-asked-questions#FAQ160"><span style="color: blue;">DACS themselves give</span></a>:</span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">‘Payback is an annual scheme run by DACS to distribute the money owed
to visual artists by various collective licensing schemes.<br />
<br />
These licensing schemes cover situations where it would be impractical for you
to license your rights on an individual basis. For example, when a student in a
library wants to photocopy pages from a book which features your work. As the
creator of the work being photocopied, you are entitled to a royalty, but
rather than ask the student to contact you every time they photocopy your work,
the library pays an annual licence fee that covers their students photocopying
copyright protected books.<br />
<br />
It’s not just libraries and universities that do this. Many different types of
businesses and organisations buy a similar licence too.<br />
<br />
The money is then shared out among the creators whose work has been featured.
Authors and publishers receive a share of this money through </i><a href="http://www.alcs.co.uk/"><span style="color: blue;"><i style="mso-bidi-font-style: normal;">Authors' Licensing and Collecting Society</i></span></a><i style="mso-bidi-font-style: normal;"><span style="color: blue;"> </span>(ALCS)
and </i><a href="http://www.pls.org.uk/"><i style="mso-bidi-font-style: normal;">Publishers
Licensing Society</i></a><i style="mso-bidi-font-style: normal;"><a href="http://www.pls.org.uk/"> </a>(PLS)
respectively. As a visual artist you can claim your royalties through </i><i style="mso-bidi-font-style: normal;"><a href="http://www.dacs.org.uk/for-artists/payback.%E2%80%99">Payback</a>.'</i><i style="mso-bidi-font-style: normal;"></i></span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-left: 36.0pt;">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Photographers all over the UK look forward to what is seen
by many as their ‘Christmas Box’, as the payment which for many can be a
thousand pounds or more usually arrives in early December, having been
collected during the previous financial year.</span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">However in 2014 something changed.</span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">DACS has previously collected under the following licensing
schemes:</span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<span style="font-family: Verdana,sans-serif;">Publications:</span><br />
<ul>
<li><span style="font-family: Verdana,sans-serif;">Photocopying (by central, local government
departments, universities and other business).</span></li>
<li><span style="font-family: Verdana,sans-serif;">Slide collection Licensing Scheme (in
educational establishments)</span></li>
</ul>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<br />
<span style="font-family: Verdana,sans-serif;">
</span><br />
<span style="font-family: Verdana,sans-serif;">Television:</span><br />
<ul>
<li><span style="font-family: Verdana,sans-serif;"></span><span style="font-family: Verdana,sans-serif;">Cable re-transmission of UK Broadcasts</span></li>
<li><span style="font-family: Verdana,sans-serif;">BBC prime and BBC World</span></li>
<li><span style="font-family: Verdana,sans-serif;">Off-air recording of programmes (by educational
establishments)</span></li>
</ul>
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">This year instead of simply acknowledging monies already
collected, which photographers had always done as part of the application
process, artists now had to sign a cleverly worded document including the
following:</span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<ul type="disc">
<li class="MsoNormal" style="mso-list: l0 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Verdana,sans-serif;"><i style="mso-bidi-font-style: normal;">I grant to DACS an exclusive licence and a mandate to negotiate,
claim and administer the secondary rights in my artistic works, or the
secondary rights in the artistic works of those individuals to the extent
we are authorised to represent them (the ‘Authorisation’). I warrant that
I have full right and title to grant this Authorisation. In consideration
for granting this exclusive licence I will become a Payback Member of DACS.</i></span></li>
</ul>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">This gives DACS the mandate to act on the behalf of
photographers in licensing that currently doesn’t take place.<span style="mso-spacerun: yes;"> </span>It gives licence to DACS to expand PAYBACK in
any way it sees fit without recourse to the very people it purports to
represent.<span style="mso-spacerun: yes;"> </span></span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<ul>
<li><span style="font-family: Verdana,sans-serif;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Is this good? </span></li>
<li><span style="font-family: Verdana,sans-serif;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Is this fair?<span style="mso-spacerun: yes;">
</span></span></li>
<li><span style="font-family: Verdana,sans-serif;"><span style="mso-list: Ignore;">·<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>Is it correct?</span></li>
</ul>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Let us be clear what is being done here. DACS is holding to
ransom the money it has already collected on behalf of its members, and which
is already there to be distributed.<span style="mso-spacerun: yes;"> </span>In
order to get this money – legitimately belonging to the creators (not DACS)
creators are obliged to sign away unspecified new secondary rights, giving DACS
carte-blanche to represent photographers without any further recourse to those
same creators.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Regardless of how good DACS are, or how efficient they might
be, why do they need to give the impression that they are holding their member’s
money to ransom in this way, – sign up or you don’t get your money we have
already collected. (At least that is how it feels to me, and I find it difficult
to interpret their action in any other way)?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Both the UK government and the European equivalent are keen
on extended collective licensing, but not just for what has already been
described.<span style="color: blue;"> (see the DACS FAQ page) </span>DACS want to be in a position to be THE collecting
society granting licences on behalf of photographers, and our blanket
permission means that they can claim to represent us, without any of that
laborious having to consult us rigmarole. This actually will be very useful as
DACS goes into battle with the big guns of secondary licensing The <span style="color: blue;">Copyright Licensing Agency.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">DACS say that they will consult us before doing anything.
But will they though, now that they don’t have to any more?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Extended Collective Licensing, by its very nature removes
control of licensing from the creator.<span style="mso-spacerun: yes;">
</span>If the image licensing market becomes one run through ECL then control
of works removed from the creator, and even opting out of the ECL scheme will
do little to regain that control (work will be used regardless and the creator
will not get paid at all).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Q.<span style="mso-tab-count: 1;"> </span>Why do
government and large organisations like ECL?<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">A.<span style="mso-tab-count: 1;"> </span>Because it is
cheap. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Cheap to run and brings in blanket licensing which will of
course be tailored to the low end product (and costings), but encompassing high
end superior quality, heavily maintained collections of work.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Granting DACS this right to negotiate on our behalf and to
be our representative in the Copyright Licensing arena is a two-edged sword. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">An astute observer might ask, whether by signing the DACS
authorisation as it now stands are photographers not implicitly condoning
Extended Collective Licensing, not just of the things that we know about and
approve, but of ECL in much wider fields that we might not be so happy with?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">The same observer might ask the question ‘What do DACS know
that they are not telling us?’</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">What makes this all the more difficult is that I actually
want DACS to represent me in the collecting of secondary licensing, as
currently they are the only option we have. As other options make themselves
available then I may wish to move my allegiance.<span style="mso-spacerun: yes;"> </span>But what I do want to be sure is that DACS
are truly representing my wishes and that they ask me BEFORE they undertake new
activities and not simply present me with ‘fait accompli’.</span></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
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<br /></div>
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<span style="font-family: Verdana,sans-serif;"><span class="uficommentbody"><b style="mso-bidi-font-weight: normal;">Ransom</b><span style="mso-spacerun: yes;"> </span><span style="color: blue;">(Merriam-webster)</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Full Definition of <i>RANSOM</i></span></span></h2>
<br />
<ol>
<li><span style="font-family: Verdana,sans-serif;"><span class="ssens">a consideration paid or demanded for the release of someone or something from
captivity </span></span>
</li>
<li><span style="font-family: Verdana,sans-serif;"><span class="ssens"> the act of <a href="http://www.merriam-webster.com/dictionary/ransoming">ransoming</a>
</span></span>
</li>
</ol>
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<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;"><a href="http://www.learnersdictionary.com/search/ransom%5b1%5d"><span style="mso-no-proof: yes; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"><img alt="http://www.merriam-webster.com/styles/default/images/reference/external.jpg" border="0" height="12" src="file:///C:\Users\PETEJE~1\AppData\Local\Temp\msohtmlclip1\01\clip_image001.jpg" width="12" /></span></span>See <span class="word"><span style="color: #1122cc;">ransom</span></span> defined for English-language
learners <span style="color: #1122cc;">»</span></a></span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;"><a href="http://www.wordcentral.com/cgi-bin/student?book=Student&va=ransom">See
<span class="word"><span style="color: #1122cc;">ransom</span></span> defined for
kids <span style="color: #1122cc;">»</span></a></span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<h2>
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Examples of <i>RANSOM</i></span></span></h2>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<ol start="1" type="1">
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Verdana,sans-serif;">The kidnappers demanded a <i>ransom</i>
of one million dollars.</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Verdana,sans-serif;">The family is willing to
pay <i>ransom</i> for his release.</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Verdana,sans-serif;">The <i>ransom</i>
note explained the terms under which she would be released.</span></li>
</ol>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<h2>
<span style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Origin of <i>RANSOM</i></span></span></h2>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">Middle English <i>ransoun,</i> from Anglo-French <i>rançun,</i>
from Latin <i>redemption-, redemptio</i> — more at <a href="http://www.merriam-webster.com/dictionary/redemption">redemption</a></span></div>
<span style="font-family: Verdana,sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana,sans-serif;">First Known Use: 13th century</span></div>
<br />Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-30139675915033437932014-03-06T11:58:00.000+00:002014-03-06T14:50:14.260+00:00Getty strike again...<!--[if !mso]>
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<![endif]--><span style="font-family: "Trebuchet MS",sans-serif;"><b>The British Journal of Photography has just run a very interesting story</b></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12pt;"><a href="http://www.bjp-online.com/2014/03/getty-images-makes-35-million-images-free-in-fight-against-copyright-infringement/" target="_blank"><span style="color: blue;"></span></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: blue; font-size: 12pt;"><a href="http://www.bjp-online.com/2014/03/getty-images-makes-35-million-images-free-in-fight-against-copyright-infringement/" target="_blank"><span style="color: blue; text-decoration: none; text-underline: none;"><span style="mso-ignore: vglayout;"><br /></span></span><span style="color: windowtext; mso-no-proof: no; text-decoration: none; text-underline: none;"></span></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: 12pt;"><a href="http://www.bjp-online.com/2014/03/getty-images-makes-35-million-images-free-in-fight-against-copyright-infringement/" target="_blank"><span style="color: blue;"></span></a></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><u><span style="color: blue; font-size: 12pt;"><a href="http://www.bjp-online.com/2014/03/getty-images-makes-35-million-images-free-in-fight-against-copyright-infringement/" target="_blank"><span style="color: blue;">Getty Images makes 35 million images
free in fight against copyright infringement » British...</span><span style="color: windowtext; text-decoration: none; text-underline: none;"></span></a></span></u></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><u><span style="color: blue; font-size: 12pt;"><a href="http://www.bjp-online.com/2014/03/getty-images-makes-35-million-images-free-in-fight-against-copyright-infringement/" target="_blank"><span style="color: blue;">bjp-online.com</span></a></span></u></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><u><span style="color: blue; font-size: 12pt;"><a href="http://www.bjp-online.com/2014/03/getty-images-makes-35-million-images-free-in-fight-against-copyright-infringement/" target="_blank"><span style="color: blue;">The controversial move is set to draw
professional photographers’ ire at a time when the stock photography market is
marred by low prices and under...</span></a></span></u></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I have to say that I certainly had not seen this coming. <span class="uficommentbody">The difficulty for everyone else (photographers that is) who are not the corporate
Getty (and I include their editorial supplier photographers) is it will have an
almost immediate effect on every other supplier of editorial ‘smudgery’ <span style="font-size: xx-small;">(Smudger - Fleet Street slang for Photographer)</span>.</span>
<span class="uficommentbody">Not so much a race to the bottom, but the floor
simply vanishing under our feet..</span><span style="mso-spacerun: yes;"></span>.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">The effect of this move by Getty
could be to remove an entire market (editorial stock photography). One
understands the basics of taking over a market by reducing the cost – indeed there
have been many famous exponents, but even ‘Walmart’ don’t actually give it all
away.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">The consequence may well be that
theft of images by companies will actually increase even though there is now a
vast source of free imagery available legitimately.<span style="mso-spacerun: yes;"> </span>Many ' bloggers' and other users of the internet
have been working on the basis that everything is free on the Internet,
something that up until now Getty appear to have been agreement with professional
creators; that 'free' is an incorrect interpretation of what the Internet really is. Now
Getty have given into this abandonment of the International Copyright law, and
sanction wholesale use of their work. Good for Getty – in that this is a data
mining exercise, but no so good for those individual creators relying on the
Getty payments every month; payments that most if not all Getty freelance photographers
have seen decrease by a huge percentage in recent years.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">For everyone else (photo creators, suppliers and aggregators) this
is going to have an (adverse)effect. Will internet content users recognise that this is
simply a Getty initiative or that this move simply vindicate what they have wanted
to believe all along (everything on the net is free); with the consequence that
other creators will find that their work is further stolen and used without
permission, infringers pointing to Getty as their motivation. Will would-be infringers
realise that the copyright laws have not actually changed?</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">Getty has believed in its market
domination for many years, and we have seen them buy-out many of the agencies
(inc Tony Stone, Allsport and many more), that were of very high quality, and had become household names. This latest
move simply builds upon this, and is a calculated to undermine the smaller
creators and suppliers for whom the Getty buy-out is not an option.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">It will potentially make it more
difficult for creators who must sell licences. This is a deliberate attempt to annihilate
the current market, and create a new Getty centric one.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">But, there could be a positive
effect. This move *should* make specialist creator controlled collections even
more valuable, and therefore more important that each of us (individual creators)
chase up every theft. Copyright law is on our side thankfully. It is going to
be difficult, but we have to stand firm against Getty queering our pitch.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">Interesting that fellow creators
in the music industry whilst they have found sales of discs and CDs etc. fall,
they have managed to take control of the copyright situation on the internet
and with on-line sales through access ports such as 'I-tunes'. Instead of giving
up and letting the theft of music tracks on-line go unchecked they have come up
with new revenue streams that make theft less attractive and on-line paid access
actually desirable for the consumer and user. If only we could do this in the
image industry instead of the big aggregators constantly undercutting each other
to the advantage of no one and at the direct cost to the creator. </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">It is of course a carefully
planned move by the image giant. From its very inception the Getty Juggernaut
has been all about domination of the image market. This latest move is all about data
mining.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody">By supplying markets which are
not great revenue generators<span style="mso-spacerun: yes;"> </span>(for Getty)
with freebies they will be ensuring that each image leads directly back to Getty.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody"><i style="mso-bidi-font-style: normal;">"......since all the images are served
by Getty Images, we’ll have access to the information on who and how that image
is being used and viewed, and we’ll reserve the right to utilise that data to
the benefit of our business.”</i></span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">So these free pictures will put Getty all over the Internet.
Very clever for the company that can afford to do it, and do it at the expense
of all other suppliers in the photo marketplace.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">The flip side of this for independent photographic creators
could be that <span class="uficommentbody">independent specialist collection
*should* become more valuable if managed properly. The issue now is how the
other agencies will respond.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody"> </span></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span class="uficommentbody"><span data-reactid=".7.1:3:1:$comment710615838958607_710803495606508:0.0.$right.0.$left.0.0.0:$comment-body.0.$end:0:$2:0">Getty is looking for comprehensive data mining and data
utilisation. If other agencies simply follow Getty in a knee-jerk like manner
without the accompanying data analysis approach then they and their suppliers (us) will
lose out big time.</span></span> <span class="uficommentbody">Geek led Alamy and
Corbis will be ones to watch...</span></span></div>
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Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com1tag:blogger.com,1999:blog-7049889232983957417.post-67905636141425339552012-04-18T09:48:00.002+01:002012-04-18T09:49:39.685+01:00Reaching Potential Markets...<br />
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<span class="translatable">Ah, another spring day fighting the
hosepipe ban :-) Whilst editing and key wording I am looking for better ways to
market my images...</span></div>
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<span class="translatable">How can I make my photos more
desirable? How do I get potential clients to see the advantage in using my
services over doing it themselves?</span></div>
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<span class="translatable">Why are businesses dealing in high
quality products content to use sub-standard images on their expensive web
sites?</span></div>
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<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span class="translatable">The first glimpse of any business
is its website. Does it not make sense to make that website look as good as
possible?</span></div>
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<span class="translatable">Photographs can be worth a thousand
words. How much is a good photograph worth? How much is a poorly shot
sub-standard photograph worth?</span></div>
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<span class="translatable">Discuss :-) </span></div>
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<br />
<br />
<br />
<br />
Pete Jenkins<br />
<br />
<a href="http://www.petejenkins.co.uk/">www.petejenkins.co.uk</a> <br />
<a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br />
<a href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a>
<br />
<a href="http://www.petejenkinsphotothoughts.blogspot.com/">www.petejenkinsphotothoughts.blogspot.com/</a><br />
<br />
Member
of: <a href="http://www.nuj.org.uk/">The National Union of Journalists</a><a href="http://www.petejenkinsphotothoughts.blogspot.com/"></a></div>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-71919921420724374192012-04-17T10:33:00.000+01:002012-04-17T10:39:25.025+01:00I paid for them I 'own' the photographs!<div style="font-family: Verdana,sans-serif;">
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I have had a very difficult situation to deal with recently with a trusted and valued client who started using images outside of the agreed contract, and despite requests for the contract to be renegotiated to include these extra uses, those uses continued, with the client refusing to pay for them because he believed that as he had paid for the images once, that he should 'own' them.</div>
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We are not talking about a fool here - one generally does not become an MD by being foolish, no this is a clever and intelligent businessman. Possibly one who is inexperienced in the commissioning of photographers, although he would deny this vehemently of course.</div>
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How does one deal with a situation like this?</div>
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Well, one can simply give in and allow ones self to be bullied and ignore the extra uses. That keeps the 'status quo' - for a while at least, but what happens when the next flagrant contract abuse occurs?</div>
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Or one can try and bring some understanding to the situation.</div>
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As someone who is a firm believer in both the integrity of contracts and of copyright, I chose to take the second option, knowing that with some people reason and common sense are not always enough to win an argument...</div>
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My response:</div>
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"<span style="color: black;">I absolutely
respect your business experience, but I believe it is also fair that you have
some respect for mine. I have been a
working photographer running businesses supplying both stock and bespoke
imagery to a wide number of clients since the late 1970’s. As I mentioned at our last meeting my more
recent clients include Rolls Royce (in Derby), Royal Mail, Unison, Nottingham
County Council and Farmers weekly. A
disparate group it is true, but all of whom use photographers such as myself on
a regular basis. In each case as a
supplier, I have an agreement with them as the client. The client specifies what is required and I
agree to supply imagery to that specification, for an agreed fee. This is the
way I have always conducted my business.
It is not usual to specify 'unlimited usage' of imagery, but when a
business requires this, it forms part of the contract, and remuneration to the
supplier will reflect this extra value.</span></div>
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<br /></div>
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<span style="color: black;">Had <u><i>your business</i></u>
made clear before the agreement was entered into, that it required an unlimited
licence to use my images, then I would have been happy to oblige, (and still
am), but I would have expected (and expect) an appropriate adjustment to the
remuneration to cover the extra value this would give the images supplied.</span></div>
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<span style="color: black;">In the UK
created works such as photographs, music, art, are covered by the 1988
Copyright act. <a href="http://www.legislation.gov.uk/ukpga/1988/48/contents">http://www.legislation.gov.uk/ukpga/1988/48/contents</a></span></div>
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<span style="color: black;">In the Act it
is made clear that the author of a work is the first owner of any copyright in
it. The rights to use that work is then
licensed to users as required. Even when
work is commissioned, the ownership remains with the creator. The only exception to this is if the creator
is employed as a creator on ‘staff’ (PAYE).
In which case the company employing the creator, and supplying all the
tools of the trade, paying the appropriate taxes, and monthly salary, is the
copyright holder of the work. </span></div>
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<span style="color: black;">The licenses
granted to use created works such as photographs vary in cost according to the
use made of that work: size of use, frequency of use, scale of use, and longevity of use - the greater the use, the greater the fee.</span></div>
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<span style="color: black;">When
commissioning photographic work the second element that affects the fee is the ‘cost
of production’. In the case of the
photographer this will reflect the amount of specialist equipment required to
achieve the technical specifications required, the amount of experience a
photographer has, and also the amount of time taken to not only acquire the
images in the first place (travel, time on site), but also the time taken to
process and edit the images to bring them up to a suitable publishable
standard. Regrettably, even with digital
images, ‘what you see’ is not ‘what you get’, and in most cases it takes much
longer to process digital images than it does to acquire them in the first place.</span></div>
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<span style="color: black;">It is very rare
indeed for a client to require ‘unlimited’ use of imagery, partly because of
the extra cost that this entails, but also because most imagery dates
relatively rapidly. It is almost always
more cost effective to purchase the occasional exceptional use ‘out of contract’,
as in most cases the supplier will give a discount based on previous use.</span></div>
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<span style="color: black;">In the case of </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;">, (with regard to the original contract), there are far in excess of
100 images being used on the website, images are also used in local publishing,
both editorial and advertising, the images are used for </span><span style="color: black;"><u><i>your business'</i></u></span><span style="color: black;"> own
publications. The photographer attends <i>your business site</i> on demand, for several hours each occasion, several times a month,
and covers special events very intensely.
Images are located from the photographers Digital Asset Management
system, resized as required and forwarded to publishers etc., on demand, and all
for an inclusive monthly fee of £290.</span></div>
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<span style="color: black;">For my other
clients, the lowest fee I receive for my work (for a non-profit making union)
is £350 for a days photography (including processing), giving a years unlimited
use for the clients editorial and advertising publishing of (up to) 30
images. Copyright remains with the creator,
and licensing can be extended to three, or five years or beyond for payment of
an additional percentage of the original fee.</span></div>
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<span style="color: black;">As you will be
aware I have been concerned that the agreement between </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;"> and myself
has expired, and that it required discussion so that the newly evolving needs
of the business could be examined and catered for. This includes billboard advertising. Now that you mention that </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;">
requires unlimited use of my work then this also can be discussed, although as
I have mentioned, I think it would be beneficial to ascertain exactly what
licence is really and truly required, and for how many images. Whilst there may well be a nostalgia value to
a very small number of the images that I produce for use by </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;">, I
cannot envisage any other use of images taken (say) in ten
years time. However, if there are uses,
and these can be specified then I will be pleased to come to an appropriate
arrangement.</span></div>
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<span style="color: black;">If as has been
suggested, all that is actually required is the facility to store images for
possible future use, then I have already agreed in principal to the storage of
my work in a DAM system for recall as required, (it is already written into the
original contract). </span></div>
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<span style="color: black;">Whilst a
contract exists between us the images can be easily accessed. Outside of contract, the images can be just
as accessible and on the rare occasion an out-of-contract image is required for
use the appropriate fee can be paid – <i style="mso-bidi-font-style: normal;">at
that time.</i> </span></div>
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<span style="color: black;">I do not
believe that I work in anyway different to any other experienced
photographer. I go to great lengths to
assist my clients in identifying their photographic needs and using the created
works that I supply to their greatest advantage, and obtain the best possible
value out of the high quality work that I provide.</span></div>
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<span style="color: black;">It would be
very easy indeed to accede to any request made by a client for extra work or
uses, and simply invoice accordingly.
However, I resist this, and instead try to work out with the client the
most efficient way to use my services.
This is what I am endeavouring to do with </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;">.</span></div>
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<span style="color: black;">If </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;">
still has to have unlimited use of imagery supplied under contract, then I will
happily comply, but I will expect an appropriate increase in the fee paid, <i style="mso-bidi-font-style: normal;">and of course a contract does have to be in
place</i>. If </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;"> wishes to
purchase unlimited use on images not taken under contract then this can also be
negotiated.</span></div>
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<span style="color: black;">I value the
work I do with </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;">, as I value all the services I provide, all of my
clients, and would wish it to continue.
It is always a joy to see the excellent use that </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;"> put my work
to and to see the business expand as the marketing and presentation continues
to improve.</span></div>
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<span style="color: black;">I apologise
that this letter is so long, but I feel that the matters needed proper
explanation. I hope that I have managed
to clarify my position, and that we can recommence negotiations with regard to
the photographic service I provide </span><span style="color: black;"><u><i>your business</i></u></span><span style="color: black;"> as soon as is
convenient.</span></div>
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<span style="color: black;">Yours sincerely"</span></div>
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Will this letter regain me a valued client - probably not? (I don't want to embarrass the client so I have made a few obvious changes). The client has made a decision based on assumption, and I have found out (by experience) that on occasion when one is 'found out', one generally does not like to admit an error. No doubt other local photographers are already being offered the opportunity to bid for the work, and I am sure there will be some out there who will abandon good business practice and copyright, simply to have a little money coming in.</div>
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Sometimes discussed and agreed contracts, dedication, good work and cost effectiveness are not enough.</div>
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<br /></div>
<div style="font-family: Verdana,sans-serif;">
Pete Jenkins</div>
<div style="font-family: Verdana,sans-serif;">
</div>
<div style="font-family: Verdana,sans-serif;">
<a href="http://www.petejenkins.co.uk/">www.petejenkins.co.uk</a>
</div>
<div style="font-family: Verdana,sans-serif;">
<a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a></div>
<div style="font-family: Verdana,sans-serif;">
<a href="http://www.photographerspro.eu/pete_jenkins" target="_blank">www.photographerspro.eu/pete_jenkins/ </a></div>
<div style="font-family: Verdana,sans-serif;">
<a href="http://www.petejenkinsphotothoughts.blogspot.com/">www.petejenkinsphotothoughts.blogspot.com/</a></div>
<div style="font-family: Verdana,sans-serif;">
<br />
Member of: The <a href="http://www.nuj.org.uk/" style="color: blue;" target="_blank">National Union of Journalists</a></div>
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</div>
<br />Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-10873920915547906772012-04-07T10:16:00.000+01:002012-04-07T18:46:35.774+01:00The watchword in our Authority now is not 'quality', but 'cashable savings'.<blockquote style="font-family: inherit;">
<b><i>"Thank you for taking the time to explain the pricing in detail. I do understand the costs and demands on a commercial photographer but I think you will find that as public services budgets continue to dwindle over the next three to five years clients such as myself with have less money to spend and will need to shop around to ensure the small amount of money we have goes as far as possible. <br />
<br />
The sad reality is that the watchword in our Authority now is now 'quality' but "<span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">cashable</span> savings", and we are being told that we must look to providing not the best service possible but a service that is "good enough". This is a sad state of affairs for many of us who have worked in local government for years, but given the state of public finances it is not surprising.</i> <br />
<br />
<i>I think that at this point I should therefore get some other quotes and look at the other photographers out there, to see what arrangements they use and which will suit our needs best. <br />
<br />
Thank you for your work with us over the past couple of years and all the best."</i> </b> </blockquote>
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<div style="font-family: inherit;">
Great Scott! As I read this e-mail from a valued client, one with whom I have, (or had), an excellent working relationship, where the quality of my work was appreciated, and I would always go that extra little bit further for, my heart hit my boots.</div>
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What on earth are <span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">cashable</span> savings?</div>
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This from the <a href="http://www.havering.gov.uk/CHttpHandler.ashx?id=5902&p=0"><span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">Gershon</span> Efficiency Guidelines</a></div>
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<div style="font-family: inherit;">
DEFINITIONS OF <span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">CASHABLE</span> AND NON-<span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">CASHABLE</span> EFFICIENCY SAVINGS</div>
<div style="font-family: inherit;">
Government advice (Efficiency Technical Note January 2005) sets out 4 categories from where efficiencies might be attained:</div>
<ul style="font-family: inherit;">
<li>Reducing inputs for the same outputs (<span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">Cashable</span>)Reducing prices for the same outputs (<span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">Cashable</span>)</li>
<li>Getting greater outputs or improved quality for the same inputs (Non-<span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">cashable</span>)</li>
<li>Proportional Efficiencies (Getting more outputs/increased quality in return for an increase in resources that is proportionately less than an increase in output or quality.) (May give rise to both <span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">cashable</span> and non-<span class="goog-spellcheck-word" style="background: none repeat scroll 0% 0% yellow;">cashable</span> savings).</li>
</ul>
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<div style="font-family: inherit;">
I think that we can translate this into English as the following:</div>
<ul style="font-family: inherit;">
<li>Get suppliers to do more work, for the same fee.</li>
<li>Pay less for the same or greater amount of product you buy in, regardless of quality.</li>
</ul>
<div style="font-family: inherit;">
So, for a small business such as mine, this leaves me with a dilemma. Like all businesses, I have a minimum amount of return I must receive in order to maintain my over heads, and provide enough profit to pay the mortgage, buy food, and pay all the usual living expenses. The clients photo budget may have decreased, but my cost of living hasn't, (actually quite the reverse), and like most other editorial photographers and photojournalists, I have been pruning my costs and over heads for years to keep up with client cuts and economies.</div>
<div style="font-family: inherit;">
<br /></div>
<ul style="font-family: inherit;">
<li>Do small businesses really overcharge? </li>
<li>Is there any slack to be taken up? </li>
<li>Should we be prepared to provide a poorer quality service and charge a lower fee.</li>
</ul>
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<br /></div>
<div style="font-family: inherit;">
For the first two I can put my hand on my heart and honestly say that I don't overcharge - far from it, and without question my operation has been pared almost to the bone. I already run with less equipment, my stocks are lower, and in some cases this in itself means I can no longer provide some of the services upon which my business reputation was made</div>
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<br /></div>
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But should I be prepared to lower my quality, to enable me to charge a lower fee? Would this in itself get me more work? Would it make me more saleable, or would it simply put me into a pool of photographers who spend their business time undercutting each other and seeing their income lowering year on year?</div>
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<br /></div>
<div style="font-family: inherit;">
I suspect that simply lowering my prices would not make me more saleable, nor in reality would it get me more work. It would place me in that part of the market where my services were not respected, I would sacrifice client quality, and more to the point it would not make me any more able to pay my bills at the end of the month.</div>
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<br /></div>
<div style="font-family: inherit;">
<span style="font-size: small;">At some point, and I hope it is sooner rather than later, people will start looking at the visual products that they buy and will perceive that one product is better than another simply because it is of a better quality. In a market place where the phrase 'good enough' is bandied about, and where quality is reduced, not in many cases to provide a cheaper product, but simply to maintain a high share dividend (some regional newspaper publishers may recognise themselves here). Where suppliers are squeezed, harder than ever before, forcing them to compromise on their own high standards just to maintain a business.</span></div>
<div style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit;">
<span style="font-size: small;">How soon will it be before the sheer quality of a product will again mark it out from the dross of its competitors, and that the impact of quality will cause products to be desirable again?</span></div>
<div style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit;">
<span style="font-size: small;">That pendulum has to swing back again hasn't it?</span></div>
<div style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit;">
<span style="font-size: small;"><br /></span></div>
<div style="font-family: inherit;">
<span style="font-size: small;">Pete Jenkins<br />
<a href="http://www.petejenkins.co.uk/">www.petejenkins.co.uk</a><br />
<a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br />
<a href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a><br />
<a href="http://www.petejenkinsphotothoughts.blogspot.com/">www.petejenkinsphotothoughts.blogspot.com/</a><br />
<br />
Member of: The National Union of Journalists</span></div>
<br />Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-13149856834511145922012-04-06T10:00:00.000+01:002012-04-17T10:35:46.267+01:00Contracts and agreements<br />
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Tahoma;">The other day I had an e-mail from one of my
regular clients. Not angry as such, but
well, this is what he wrote: </span></div>
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<br /></div>
<div class="MsoNormal">
<i><span lang="EN-US" style="font-family: Tahoma;">“I have received an invoice from you for the
use of an image on billboard advertising. I feel that this seems a bit
excessive in the context of the other fees that we pay and would request that
you reconsider this invoice.”</span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">On the face of it I could
have reacted by being angry and cross, but instead I thought it would be best
dealt with by explaining to my client why he had an invoice.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">So this is what I said to
him in reply.</span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">"I have as requested given further consideration to the
invoice.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">The fees that I charge your business during the
process of providing you with a photographic service, cover the specific needs
outlined on each occasion, and for each individual shoot. As you know these requirements vary from internal editorial uses to a small number of advertising publications. The requirements are set out by yourselves
before each job is undertaken.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">I understand that you are unhappy with the invoice issued
to cover the billboard advertising (adverts that have already been in place for some
months), and for which no agreement currently exists between us.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">The billboard use was never
mentioned when the initial commission was discussed, and had it been then I
would have negotiated a higher fee to cover this extra use of my work, (as you
will agree, the more work done and used, the higher the fee).</span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">The fee charged in this case is a heavily discounted
one - on what is a bespoke image, and is
not covered by any existing agreement that I have with your business.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">I have been concerned ever since the initial work was done,
that the contract for the work itself needed discussion and revision, because your
photographic requirements have changed over the past year. </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">When the work was commissioned by your management team
and agreed by myself, it covered a wide range of uses, as we discussed, and the
fee paid reflected those requirements, and the work done to acquire the
imagery in the first place.</span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">The specific uses licensed were:</span></div>
<ul>
<li><span lang="EN-US" style="color: black; font-family: Tahoma;">Your company website</span><span lang="EN-US" style="color: black; font-family: Tahoma;"> </span></li>
<li><span style="color: black; font-family: Tahoma;">Brochures and
leaflets promoting ‘your business </span></li>
<li><span style="color: black; font-family: Tahoma;">Annual Report</span></li>
<li><span style="color: black; font-family: Tahoma;">Advertising in
external regional publications, e.g. Nottingham Evening Post, NG3, NG5 and
similar, for the duration of the license</span></li>
<li><span style="color: black; font-family: Tahoma;">Duration of the
license will be for one year from date the contract is signed </span></li>
<li><span style="color: black; font-family: Tahoma;">Storage in an on-site DAM system (to be agreed)</span></li>
</ul>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: Tahoma;">Under the
circumstances I believe that the invoiced fee is very reasonable considering
the extra unforeseen advertising use of the image and the circumstances. If your
business were to obtain an ‘off the peg’ image from a photo agency, it would
expect to pay anything from £500 to £1500 (maybe more) for billboard usage of
this kind.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: Tahoma;">A bespoke image (photograph) such as the one used has considerably more value.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: Tahoma;">The fee I have
charged, (and the substantial discount already included), reflects the fact that
it is an image that has been used by yourselves once before, even though there is currently
no contractual agreement for it to be used on a billboard between our two
businesses."</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;"><br /></span><br />
<span lang="EN-US" style="color: black; font-family: Tahoma;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">It is sometimes very
difficult as a supplier of created works dealing with clients. One tries to
advise them of the most effective way, and the most economic way to get the best use out
of bespoke imagery, but sometimes they simply do not listen. I know the old adage:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i><span lang="EN-US" style="color: black; font-family: Tahoma;">“The client knows best”.</span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">But do they? Do they really? Do they always? Why hire an expert and then ignore the advice
they give?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">Photographers more than
almost every other creator are under huge pressure at the moment. On top of the perception that everyone with a
mobile phone is now a competent photographer, we also have the added
difficulties of a world wide recession, more specific in many ways here in the UK.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">If I hire, and pay for a car for a
fortnight and then decide to take an extra weeks hire, is it reasonable to
expect that extra weeks hire for free?
No, of course not.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Tahoma;">It is absolutely essential
for photographers and clients to spell out exactly what each party expects from
the other, including exactly what service is required, and what remuneration is
to be made for that service. Business is
based on supply and demand, and the terms and conditions are spelt out in
contracts. They protect both sides. To do business without those requirements, including terms and
conditions in writing, even if it is little more than three sentences stating
specifically what service is to be performed, to what time-scale, and how much
and when remuneration is to be paid, is plain daft.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;">
<span lang="EN-US" style="color: black;">You know it makes sense :-)</span></div>
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<br /></div>
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<br /></div>
<div style="font-family: Arial,Helvetica,sans-serif;">
Pete Jenkins</div>
<div style="font-family: Arial,Helvetica,sans-serif;">
<br /></div>
<div style="font-family: Arial,Helvetica,sans-serif;">
<a href="http://www.petejenkins.co.uk/">www.petejenkins.co.uk</a>
</div>
<div style="font-family: Arial,Helvetica,sans-serif;">
<a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a></div>
<div style="font-family: Arial,Helvetica,sans-serif;">
<a href="http://www.photographerspro.eu/pete_jenkins/%20" target="_blank">www.photographerspro.eu/pete_jenkins/ </a></div>
<div style="font-family: Arial,Helvetica,sans-serif;">
<a href="http://www.petejenkinsphotothoughts.blogspot.com/">www.petejenkinsphotothoughts.blogspot.com/</a></div>
<div style="font-family: Arial,Helvetica,sans-serif;">
<br />
Member of: The <a href="http://www.nuj.org.uk/" style="color: blue;" target="_blank">National Union of Journalists</a></div>
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<div class="MsoNormal">
<br /></div>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com2tag:blogger.com,1999:blog-7049889232983957417.post-61775693348956266032011-12-03T10:54:00.001+00:002011-12-03T11:27:04.508+00:00Leveson inquiry - some balance please<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">I haven’t blogged in quite a while – my
apologies. Like many of us I have been
struggling to get work, and complete it when I have found it, and I have also
been overwhelmed by the copyright situation and current discussions going
on. It was this piece in the Guardian
yesterday, on top of discussion that photographers have been having amongst
themselves about the unbalanced mention of snappers/smudgers news photographers
at Leveson, that bring fingers back to keyboard.</span></div>
<div style="font-family: Verdana,sans-serif;">
<br /></div>
<div style="color: blue; font-family: Verdana,sans-serif;">
Leveson inquiry: 'Photographers facing unfair criticism'</div>
<div style="color: blue; font-family: Verdana,sans-serif;">
<br /></div>
<div style="color: blue; font-family: Verdana,sans-serif;">
</div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">Whilst I
have huge sympathy for those who have had their lives quite clearly interfered
with by a very obtrusive British Press, it is not every journalist or
photojournalist who engages in this kind of activity: none of my friends do,
and few if any of the thousands of photographers I have regular contact with
around the country. But they are out
there and I have seen them work. :-)</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">I have been
a professional photographer all my working life, Although I have very small
interactions these days - since about 2003, the large part of my career has
been dealing with newspapers, the large majority the nationals say 70-30%. And whilst it is true I have never been a
staffer, I have been a contract Freelance for some years with the Sunday
Telegraph and I have undertaken countless thousand commissions for the rest of
Fleet Street, and there isn't a single Fleet Street Picture desk I have not had
a large amount of contact with over an extend period between say the late
seventies and 2003 I worked for the ST picture desk for some thirteen years as
a sports photographer, and also and subsequently, ran my own sports photo
agency. In all this time I was
primarily a sports photographer working all over the world but on occasion I
also did what is known as ‘news’ work and sometimes features, not just
photographing sporting events and people.
I work mostly on my own, but also worked as part of a team, and certain
situations require that everyone has to work as part of a ‘pack’.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">I have seen
some incredibly professional behavior from my colleagues most of the time, but
I have it is true also seen behavior that has made me very angry - and I am
not a person to get riled easily. Any
one who makes me angry must be behaving very badly indeed.</span></div>
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<span style="font-size: small;">
</span></div>
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<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">I have seen
photographers blatantly flout police instructions and lines in order to get the
picture that their colleagues could not get because they followed police
instructions. I have equally
experienced photographers abandon image taking in order to help people who have
been caught up in situations and desperately needed help - always a difficult
decision to make, but one thankfully that most of us do not have to make.</span></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
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<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">I have
witnessed photographers being ritually picked on by crowds at many different
events, including my first ever ‘Premier League’ game where we,
(photographers), were pelted by sharpened coins and darts from the crowd
(Everton V Tottenham for the record).</span></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">The worse
thing regularly seen is the ‘chancers’.</span></div>
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<span style="font-size: small;">
</span></div>
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<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">Like many
people I have had a low opinion of much of the headlined material and what was
written in the News of the World, the Sun, the Star, and also at times the
Mirror, the People, the Express and the Mail, the Mail on Sunday, Sunday
Express, and despite their high(er) brow status the Times, Telegraph, their
associated Sundays and even on occasion the Guardian and Observer have made me
wince. I loathe so called kiss and tell
journalism, and the sort of Journalism where a headline is derived to sell a
newspaper and it turns out the content has been poorly researched if at all,
and it is mostly lies. I hate the
two-inch capital headlines and the three pages of slander, apologised for
months latter with a two-inch column retraction hidden in the middle of the
paper.</span></div>
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<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">Despite all
this, most of the time the people I have dealt with on Picture and occasionally
news desks have always appeared to be decent people, and hardly ever anything
other than totally professional.</span></div>
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<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">I have
never understood how with all the professionals I deal with, where that the
nastiness and dishonesty comes from.</span></div>
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<br /></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">Having said
that I do recall over my time a number of situations, which I now recognise as
being at the very least 'dodgy'. </span></div>
<div>
<span style="font-size: small;">
</span></div>
<ul style="font-family: Verdana,sans-serif;" type="disc">
<li class="MsoNormal"><span style="font-size: small;">I do recall being sent to a Millwall home match
once and being asked to specifically photograph crowd violence - football
action not required. </span></li>
<li class="MsoNormal"><span style="font-size: small;">I recall another situation when there was a bomb
scare at the Grand Notional when the photographic team for the Sunday
Telegraph was being urged by the Picture editor (safe in London) to stay
inside the police barrier and remain in the ground whilst everyone was
being evacuated. </span></li>
<li class="MsoNormal"><span style="font-size: small;">Equally I remember the huge effort being made to
work on behalf of photographers by that very same Picture editor when a
photographer had been arrested in a difficult situation overseas. </span></li>
<li class="MsoNormal"><span style="font-size: small;">I have seen photographers behave appallingly at
photo shoots, when most agree to stay behind one position to the benefit
of all, and one 'chancer' decides to flout the agreement at the last moment
and get pictures that are unique and at the same time turn over everyone
else because all other pictures have the flauntee in them as he dashed in
front of everyone else. </span></li>
<li class="MsoNormal"><span style="font-size: small;">I have seen photographers (staffers) sharing
images, and seen the same image given nine different by lines in as many
papers. </span></li>
<li class="MsoNormal"><span style="font-size: small;">I have seen my own images given a staffers by
lines. </span></li>
</ul>
<div>
<span style="font-size: small;">
</span></div>
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<span style="font-size: small;"><br /></span><br />
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">Given a
little more time I am sure I can come up with many more incidents, anecdotes and
similar remembrances.</span></div>
</div>
</div>
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<span style="font-size: small;">
</span></div>
<br />
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">I do recall
that for the first fifteen years of my career, I refused to supply the Sun and
the News of the World, out of disgust, but that due to a series of situations I
ended up working with the NoW desk in the nineties, and in my experience the
News of the World Picture desk was the most professional I ever dealt with, and
that they were also consistently the best payers. Ironic or what?</span></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">Most of the
time, when it comes down to badly behaved photographers, and there are a few, it
is the rogues and chancers, and increasingly these days the paps - not
experienced professionals but people chasing big bucks offered by some papers
for the very pictures that are abhorred by Leveson contributors (including me
it must be said). Many of these paps
are out of work , acquire a camera and follow the myth that professional 'photojournalists'
are regularly paid big money - (we are most emphatically not), and confuse news work with hassling
and chasing after celebrities.</span></div>
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<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">The nearest
I have ever done to this was the very occasional doorstep work, and even that I
found out of place and uncomfortable most of the time.</span><br />
<br />
<span style="font-size: small;">I would suggest that the large part of the problem comes from two sources. An unregulated press, which seems to have pressured itself into publishing more invasive so called news, with less checking and poor verification than we have ever seen before, along with the incursion into the industry of operators who work with few guidelines and observe no rules. If every photographer, journalist and Editorial desk insisted on working to (say) the <a href="http://www.nuj.org.uk/files/PR_poster_REVISE.pdf" target="_blank">National Union of Journalist ethical guidelines</a> then this inquiry would never have been needed in the first place.</span><br />
<br />
<span style="font-size: small;">And I would say now as I have said before it is only a very small minority you cross the line, but do it regularly. if they are allowed to get away with it then it will happen again, and again, and again. If we don't punish transgressors then can we really be surprised at the results? </span><br />
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;">Self-regulation? Don't make me laugh. It didn't work for bankers and it didn't work for the UK press.</span></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
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<br /></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
<div class="MsoNormal" style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">I would
like my voice heard in this please, and I know there are hundreds if not
thousands of professional photojournalists who would echo my thoughts.</span></div>
<div style="font-family: Verdana,sans-serif;">
<span style="font-size: small;">
</span></div>
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</span></div>
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<span style="font-size: small;"> </span>
</div>
<div style="font-family: Verdana,sans-serif; margin-bottom: 0cm;">
<br />
<br />
<br />
<br />
Pete
Jenkins</div>
<div style="font-family: Verdana,sans-serif; margin-bottom: 0cm;">
<span style="color: red;"><br /></span><a href="http://www.petejenkins.co.uk/"><span style="color: blue;"><u>www.petejenkins.co.uk</u></span></a><span style="color: blue;"><br /></span><a href="http://www.onlinepictureproof.com/petejenkins"><span style="color: blue;"><u>www.onlinepictureproof.com/petejenkins</u></span></a><span style="color: blue;"><br /></span><span style="color: blue;"><u><a href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a></u></span><span style="color: blue;"><br /></span><span style="color: blue;"><u><a href="http://www.petejenkinsphotothoughts.blogspot.com/">www.petejenkinsphotothoughts.blogspot.com/</a></u></span><br />
<br />
Member
of: The National Union of Journalists</div>
<div style="margin-bottom: 0cm;">
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</div>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-89876878738311718292011-03-04T17:03:00.000+00:002011-03-04T17:03:29.860+00:00Review of Intellectual Property and Growth: Call for Evidence<div class="MsoNormal"><i><b><span style="font-size: small;">"<span style="font-family: Tahoma;">What, if anything, should we do to change the UK's IP system in the interests of promoting more rapid innovation and economic growth? </span></span></b></i><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:DoNotOptimizeForBrowser/> </w:WordDocument> </xml><![endif]--></div><div class="MsoNormal"><br />
</div><i><b><span style="font-size: small;"><span style="font-family: Tahoma;">It is through that lens that I will be assessing all responses. The most persuasive arguments will be those supported by the most robust evidence. That evidence might come in the form of statistics or in case studies based upon direct, personal and organisational experience."</span></span></b></i><br />
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<span style="font-size: small;"><span style="font-family: Tahoma;">So Ian Hargreaves wrote </span><span style="font-family: Tahoma;">asking members of industry and the public to contribute to his consulting exercise on UK patents and copyright </span><b><i><span style="font-family: Tahoma;"></span></i></b></span><br />
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</span></i></b></a></span></div><div style="color: blue;"><a href="http://www.ipo.gov.uk/ipreview/ipreview-c4e.htm"><span style="font-size: small;"><b><i><span style="font-family: Tahoma;">http://www.ipo.gov.uk/ipreview/ipreview-c4e.htm</span></i></b></span></a></div><span style="font-size: small;"><b><i><span style="font-family: Tahoma;"><br />
<a href="http://www.ipo.gov.uk/ipreview/ipreview-c4e.htm"></a></span></i></b></span><br />
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<div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;"><span> </span>I can comment only on the experience I have had as a creator, as an agent for other creators, and from my experience dealing with creators all over the UK, mostly, but not exclusively photographers.<span> </span>Copyright law in the UK appears simple enough, and far from complicated, although, it must be said, there are some glaring omissions to the detriment of creators, which include the need to assert moral rights in created work, and then the dispensation to give a credit allowed to newspapers and magazines.<span> </span>Lack of credit does hurt creators in several crucial financial ways, and in addition it also hurts the consumer of product because the consumer is often then unable to verify the source of material whether it be written or an image.</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">By allowing created work to be published without a credit, without the author’s identification, the author loses the gravitas that publication gives the creator’s brand.<span> </span>It is through publication and the knowledge that a work is by a particular creator that creators build up their brands.<span> </span>Whilst the scale might be different, brand awareness is vitally important to creators especially those who work on their own as sole traders. Just as important as it is to a large supermarket or a major publishing house.<span> </span>It is as important to a photographer as it is to an artist.<span> </span>Lack of brand awareness seriously damages saleability.</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">The lack of a label identifying the author also affects the consumer.<span> </span>Particular creators, whether they are a reporter, a writer or a photographer, (or any other type of creator), add value to the printed page or the video report etc.<span> </span>Knowing who is the writer or the photographer/illustrator also tells the consumer that the report, the writing, or the image can be relied on and is factual – that it can be verified.</span></span></div><div class="MsoNormal"><br />
</div><span style="font-size: small;"><span style="font-family: Tahoma;">I have been a press and editorial documentary photojournalist now for 35 years. My first images were sold in around 1975. In the time I have been trading I have changed my trading name probably five times, my address as many, and my phone number a little less.<span> </span>When I started I had neither and e-mail contact nor a mobile phone, and whilst these latter have now been constant for some fifteen or so years before that they too have changed several times.<br />
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During this period I have distributed scores of thousands of photographs.<span> </span>Initially as black and white prints - none of which will have my current contact details, then as colour prints - again no current details on them either, and then from about 1992/3 mostly as digital files. Many of the earlier digital files will also have incorrect contact details.<br />
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Whilst after each change of contact details I have always contacted each and every client, even defunct ones with the changes, how many of my images (80,000+) will have been as diligently updated?<br />
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So, even though my name is easily 'Googled', most of my work put out to clients, both commissioned and speculatively, over at least the first twenty-five years of my career is likely to be orphaned in one way or another. Add to this the fact that the majority of my work published in Newspapers, and a substantial amount of magazine work is published without out a byline, and perhaps this can give an indication of the actual extent of orphaned work - just amongst professionals. Can I keep track of uninformed uses? Not a chance. Do clients contact me to ask if they can use older material from file? Rarely.</span></span><br />
<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:DoNotOptimizeForBrowser/> </w:WordDocument> </xml><![endif]--><span style="font-size: small;"><span style="font-family: Tahoma;">Turning to the BBC. They used to have a large number of sports images for use with 'A Question of Sport'. These were exclusively transparencies.<span> </span>None of mine will have my current contact details. How many of these images are still on file? What would the BBC do if they wanted to use one now or in the future? </span><b><i><span style="font-family: Tahoma;"></span></i></b></span><br />
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<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:DoNotOptimizeForBrowser/> </w:WordDocument> </xml><![endif]--><span style="font-size: small;"><span style="font-family: Tahoma;">I used to be a contractor with the ‘Daily’, and then the ‘Sunday’ Telegraph newspapers. Many thousands of my images are on file with them, and I have no reason to believe that they have purged me from their digital systems (rather the opposite). After I stopped being part of the 'team', I stopped receiving regular cheques. But my work was still used as stock. I used to go to their library every six months or so and search through the editions. Due to time constraints I ended up only being able to check the final editions, but even so every trip used to reveal scores of uses, which I was able to invoice for £1000s.<br />
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Now in Nottingham, I no longer have access to their library, but have the uses stopped? Every now and again I pick up an on-line use, but have huge problems in getting paid for them.<span> </span>But how many uses slip through, get used and I simply remain unaware of the use? The Telegraph advise that they pay on invoice.</span></span><br />
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<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:DoNotOptimizeForBrowser/> </w:WordDocument> </xml><![endif]--><span style="font-size: small;"><span style="font-family: Tahoma;">It is much the same for the Mail, Express, Mirror, Times, Sunday Times, News of the World, Star, Sunday Mirror, People, FT, Guardian, Observer etc all of whom have used my work, commissioned my work, and stored my work in their libraries. Occasionally, I get a payment, but being in Nottingham I am not in a position to check all editions even if I could now justify the time to go through every paper available to me in Nottingham (I can't). So over a year how many uses do I not get paid for?<br />
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And yes, I know that as my material ages it would be used less, but I get enough requests and queries for my older work to know that it does have a value and could well be being used in a small trickle with almost everyone of my former National (and regional) newspaper clients. But none, apart from the Guardian, (and their system is manual so fallible), seem to volunteer payments these days, so it seems.</span></span><br />
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<div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">Increasingly over the past ten years I have experienced publishers asking me to sign contracts, which give most or all of my rights to the publisher.<span> </span>This goes a lot further than not giving an image credit, but denies me the ability to sell my images to other clients in the future, and equally if I did sign such a contract it would give the publisher the legal right to sell licenses of my images to third parties without any recourse to myself or any payment to myself.<span> </span>Whether these third parties are other companies within the publishing group or completely different third parties is irrelevant.<span> </span>Each use should be paid for – that is how the creator earns his or her living.<span> </span>To deny the creator the ability to sell license to their own images has an immediate detrimental effect on their ability to survive economically.</span></span></div><br />
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<div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">Being able to licence ones own work to third parties has become increasingly important in the past twenty years, as since 1994 the fees paid to editorial photographers have either stagnated, or in the worst cases actually fallen.<span> </span>This does not just cover commissioned work, but also work taken from stock files, (usually paid for in proportion to the size used).<span> </span>As publishers increasingly insist on contributors signing over their rights to licence and exploit their own work, it becomes more and more difficult for those creators to survive.<span> </span>Of course the creators with the best reputations are able to resist such economic attrition, but those new to the industry are often told that such assignment of rights is the business or industry norm, when of course it isn’t, and rookie creators are given a very rough ride in the industry that they have chosen.</span></span></div><br />
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<div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">Photographers report numerous practices that can be regarded as anti-competitive, including the demand to transfer copyright that is made by organisations as diverse as Future Publishing and the BBC.<span> </span>Copyright should be a basic human right, and no large corporation should be able to, (should be allowed to), use its commercial muscle to force sole traders to part with extra publishing rights or indeed copyright without a suitable and appropriate payment.</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">The only reason for publishers to demand copyright as a condition of purchase or sale is so that they can continue to exploit the created works without making appropriate and further payments to the creator.<span> </span>That undermines the entire copyright licensing system to the direct detriment of the creator.</span></span></div><br />
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<div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">Of course, such tactics whilst they give a short-term advantage to larger players such as publishers do in the end have a very detrimental affect on the industry as a whole.<span> </span>There are fewer and fewer full-time editorial photographers today than there were twenty years ago, and although universities and colleges are training students, very few are actually able to make a career in the creative arts – especially photography, work.</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">I have become very concerned with the issue of orphan works.<span> </span>What started initially as a very credible need by the library and academic sector to digitise previously published works, has ended up being very far from this simple academic ideal.</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">Recently we have seen attempts at orphan works legislation fail to pass through US legislature, and we understand that the similar legislation initially designed to allow libraries and academic institutions to digitise published works without fear of prosecution from copyright owning creators.</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">Few if any creators reject the idea of digitising collections of works.<span> </span>Indeed the project has the support of all those I have discussed it with.<span> </span>The difficulty has always been that in order to digitise existing hardcopy collections it is inevitable that commercial entities will be engaged to undertake the actual digitisation process, and that in order to pay for the work done the academic institutions and libraries will start to sell of rights which they do not have.</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: small;"><span style="font-family: Tahoma;">Indeed we have already seen this happen with the British Library and the British Newspaper Archive currently housed in Colindale</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: small;"><b><span style="font-family: Tahoma;">James Murdoch v the British Library</span></b><span style="font-family: Tahoma;"><span> <i> </i></span><i><a href="http://www.guardian.co.uk/media/2010/jun/07/james-murdoch-british-library?showallcomments=true#end-of-comments">http://www.guardian.co.uk/media/2010/jun/07/james-murdoch-british-library?showallcomments=true#end-of-comments</a></i> </span></span></div><div class="MsoNormal"><i><span style="font-size: small;"><span style="font-family: Tahoma;">James Murdoch has accused the British Library of acting for commercial gain with plan to digitise newspapers – the library says this is 'patently not true'</span></span></i></div><div class="MsoNormal"><i><span style="font-size: small;"><span style="font-family: Tahoma;"><span> </span><a href="http://www.guardian.co.uk/theguardian">The Guardian</a>, Monday 7 June 2010</span></span></i></div><br />
<span style="font-size: small;"> <span style="font-family: Tahoma;">Whilst the British library says that it is not making any commercial gain out of the digitisation process, it is very clear that Brightsolid a division of DC Thomson most certainly cannot make the same claim.<span> </span>They are not digitising the archive out of a sense of community spirit, but because the see and intend to exploit a commercial opportunity.<span> </span>Neither Brightsolid nor the British Library have adequately explained how</span><span style="font-family: Tahoma;"> </span><span style="font-family: Tahoma;">they can identify which photograph or which article has been written by a staff member, (therefore the copyright belongs to the newspaper publisher), or which have been created by freelances, (who own their own copyright).<span> </span>Neither have they adequately explained how they will attempt to ask permission for those pieces of original created works to be sold on to 3<sup>rd</sup> parties.<span> </span>In addition they have not explained how the original creators will be paid their rightful percentage of the sales of articles made.</span></span><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:DoNotOptimizeForBrowser/> </w:WordDocument> </xml><![endif]--><br />
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<span style="font-family: Tahoma; font-size: 12pt;"><span style="font-size: small;">Pete Jenkins </span></span><br />
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<b><i><span style="font-family: Tahoma; font-size: 12pt;"> </span></i></b>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-25309759320777020572010-08-03T22:31:00.000+01:002010-08-03T22:31:19.686+01:00Royal Photographic Society Put the Boot in to Professsional members<span style="font-size: small;"><br />
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<div><span style="font-family: Arial; font-size: small;">The Royal Photographic Society, that esteemed organisation basically aimed at amateur photographers has launched a new initiative which I am sure will be received with some trepidation by its professional members, especially those based in the South West who make at least some of their living documenting their region.</span></div><div><span style="font-size: small;"><span style="color: blue;"> </span></span></div><div style="color: blue;"><span style="font-family: Arial; font-size: small;"><a href="http://www.rps.org/resources/group_downloads/SWT-launch.pdf"><span style="color: blue;">http://www.rps.org/resources/group_downloads/SWT-launch.pdf</span></a></span></div><div><span style="font-size: small;"> </span></div><div><span style="font-family: Arial; font-size: small;">RPS is asking its members to give images to the South West Tourist Board.</span></div><div><span style="font-size: small;"> </span></div><div><span style="font-family: Arial; font-size: small;">Why? photographers are asking. An exhibition perhaps, sponsored by the RPS.</span></div><div><span style="font-size: small;"> </span></div><div><span style="font-family: Arial; font-size: small;">Oh no. the reason is simple.</span></div><div><span style="font-size: small;"> </span></div><div><span style="font-size: small;"> </span></div><blockquote dir="ltr" style="margin-right: 0px;"> <div><span style="font-size: small;"> </span><span style="font-size: small;"><em>Our primary objective is to launch an advertising campaign based on the line "</em><b><span style="font-family: Calibri,Calibri;"><span style="font-family: Calibri,Calibri;"><em>the season doesn’t end with summer</em></span></span></b></span><span style="font-size: small;"><em>". This will be online primarily, but hopefully tourism partners will commit to carrying this theme to a wider audience via: </em></span><br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> <em>* static displays at major motorway service areas, </em><br />
<em>* features in in-flight magazines, </em><br />
<em>* a media campaign taking in a range of national newspapers, specialist magazines and trade shows, </em><br />
<span style="font-size: small;"> <em>* static displays at major motorway service areas, </em><br />
<em>* features in in-flight magazines, </em><br />
<em>* a media campaign taking in a range of national newspapers, specialist magazines and trade shows, </em></span></span></span></span></div></blockquote><div><span style="font-size: small;"> </span></div><div><span style="font-family: Arial; font-size: small;">That is to say, maximum exposure at minimum cost. A cost that will largely be borne by the professional photographers who would normally be supplying images. Now is that fair? Is it ethical?</span></div><div><span style="font-size: small;"> </span></div><div><span style="font-family: Arial; font-size: small;">If it is good enough for the South West Tourist board, where else will the RPS turn its attentions? The Olympics perhaps.</span></div><div><span style="font-size: small;"> </span></div><div><span style="font-size: small;"> </span></div><div><span style="font-family: Arial; font-size: small;">Someone stop this madness now</span></div>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-71817445663694878902010-07-09T15:09:00.000+01:002012-04-07T09:55:23.770+01:00Moral Rights<span style="font-family: Tahoma; font-size: 10pt;"></span><link href="file:///C:/Users/PETEJ%7E1/AppData/Local/Temp/msoclip1/02/clip_filelist.xml" rel="File-List"></link><style>
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<h1>
<span style="font-family: Tahoma;"> <o:p></o:p></span></h1>
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<br />
<blockquote>
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“It is a logical and legal absurdity to talk of licensing works whose authors cannot be identified while there are still significant groups of authors who do not have the right to be identified.”</div>
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<br />
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<br /></div>
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<i><b><span style="font-family: Tahoma;">This was Viscount Bridgeman</span></b></i><i><span style="font-family: Tahoma;">,<a href="http://www.blogger.com/goog_274039587"> speaking in the House of Lords during debate on the Digital Economy Bill, Clause 43 </a></span></i><i><span style="font-family: Tahoma;"><a href="http://www.publications.parliament.uk/pa/ld200910/ldhansrd/text/100208-0018.htm#1002092000051" style="color: blue;">Monday 8th February 2010</a><o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<i><span style="font-family: Tahoma;"> </span></i><span style="font-family: Tahoma;"><o:p></o:p></span></div>
<h1>
<span style="font-family: Tahoma; font-size: 12pt;"> <o:p></o:p></span></h1>
<h1>
<span style="font-family: Tahoma; font-size: 12pt;"><i><span style="font-size: large;">Moral Rights , What are they, Why we need them, and why they are important?</span></i><o:p></o:p></span></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText">
(Whenever the words creator, author, photographer or similar are used they should be read as non-gender specific, and to denote all genders as appropriate.)</div>
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<span style="font-family: Tahoma;">Moral rights are frequently misunderstood by many people, especially those who don’t think they have any to defend. Indeed, many creators who actually do have a vested interest in their own moral rights often state that it is not an issue - mainly because they don’t understand the concept or the facts of the matter. But in today’s world of ‘Facebook’ and ‘Flickr’, ‘MySpace’ and ‘Twitter’, Internet based social networking makes everyone a creator, and everyone a publisher.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span style="font-family: Tahoma;">How would you feel if a major newspaper took your image from your Facebook site and published it, but didn’t give you a credit or pay you?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span style="font-family: Tahoma;">How would you feel if an oil company followed your Twitter link and took an image of yours and used it in a ad campaign and didn’t ask you first?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span style="font-family: Tahoma;">How would you react if the BNP took a personal image from your website and used it as part of their party literature, didn’t ask you, didn’t credit you and didn’t pay you?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
So what are ‘Moral Rights’.</h2>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;">According to the Intellectual Property Office, (IPO) the Government department that deals with the matters of copyright in the UK:<o:p></o:p></span></div>
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<i><span style="font-family: Tahoma;">“Moral rights give the <b>authors</b> of literary, dramatic, musical, artistic works and film directors the right:<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 18pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 54pt; text-indent: -18pt;">
<span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><i><span style="font-family: Tahoma;">to be <b>identified as the author</b> of the work or director of the film in certain circumstances, e.g. when copies are issued to the public.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 54pt; text-indent: -18pt;">
<span style="font-family: Symbol;">·<span style="font: 7pt "Times New Roman";"> </span></span><i><span style="font-family: Tahoma;">to <b>object to derogatory treatment</b> of the work or film which amounts to a distortion or mutilation or is otherwise prejudicial to the honour or reputation of the author or director.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 18pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 18pt;">
<i><span style="font-family: Tahoma;">In contrast to the <b>economic rights</b> under copyright, moral rights are concerned with protecting the personality and reputation of authors.”<o:p></o:p></span></i></div>
</blockquote>
<br />
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;">In the UK, (currently), as is suggested in the IPO explanation, there are a number of differences between copyright here and say in Germany and France and other sectors of Europe. In the UK, several publishing arenas (most notably Newspaper and magazine publishing and some book sectors) are classed, as an exception to the general rule and the publisher is not obliged to recognise the creator/author. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;">In addition, in the UK, unlike other areas of Europe, the right to be recognised as the author of ones own work has to be asserted, and is not automatic. In the UK a creator has to demand his or her moral rights and cannot expect them as in other countries to be applied automatically.</span></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;"></span></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;"></span></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;">Further to the IPO definitions, we can add three other moral rights which are recognised widely other than in the UK, they are:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<br />
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal"><span style="font-family: Tahoma;">The right to have a work published anonymously or pseudonymously.<o:p></o:p></span></li>
</ul>
<div class="MsoNormal" style="margin-left: 18pt;">
<br /></div>
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal"><span style="font-family: Tahoma;">The right to decide whether a work may be used or not.</span></li>
</ul>
<div class="MsoNormal">
<br /></div>
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal"><span style="font-family: Tahoma;">The right not to have work falsely attributed to you.<o:p></o:p></span></li>
</ul>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span style="font-size: large;">So why do we need ‘Moral Rights’?</span></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;">Whilst moral rights are distinct and separate from economic rights they are becoming more and more important and interwoven. With clients becoming more and more cost-conscious, and the business of photography (in particular) becoming more competitive, being recognised as the author of ones work becomes more important than ever before.</span></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;"></span></div>
<div class="MsoNormal">
<span style="font-family: Tahoma;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
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<span style="font-family: Tahoma;">Indeed, it would be incorrect to say that a mere credit alongside a photograph whether on the web, in a book or magazine, or in a newspaper can be used in itself to pay the mortgage, the rent or buy food, but</span></div>
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<span style="font-family: Tahoma;"> it is true to say that having a credit alongside ones work raises awareness of ones abilities as a photographer and this can be very useful when acquiring clients.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">With the proliferation of the Internet (World Wide Web) in publishing today, where more and more imagery is used than ever before, having a credit alongside ones work has several functions. Not only is there the already mentioned ‘raising ones professional profile’, but also in a climate where too many people believe erroneously that something published on the web is in the ‘public domain’, having an acknowledgement of an author or creator does go some way to asserting ownership, and it becomes less easy for an infringer to claim, "I didn’t know".<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">Orphan works have been raised as an issue in recent times with legislation proposed both in the United states and in the UK, and although each time the legislation as proposed has been rejected, it is clear that at some point in the near future orphan works will be legislated for.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">The current accepted definition of ‘Orphan Works’ is that they are created works for which for whatever reason have become detached from their creator, and now although they may well be in copyright and owned by someone, because the author cannot be identified, their status is in question.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">Because it is an 'orphan', does not mean that it does not belong to a creator, far from it, as copyright extends through the life of an author and for seventy years after their death, this means that the huge majority of photographs that have ever been created are actually still in copyright, and to use them permission must be sought from the copyright holder.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">Just because at one instant in time the creator/photographer/author of a work is unknown, this does not change the status of the copyright of an image or work.<o:p></o:p></span></div>
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<span style="font-size: large;">Why are ‘Moral Rights’ important?</span></h2>
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<span style="font-family: Tahoma;">They way that photographs and other created works are published is through a licensing system. This is important, because of the very large number of ways that any created work can be used.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">The licensing system allows for a relatively small fee to be charged say for the use of an image at a small size in one issue of a magazine or newspaper, and a much larger (justified) fee for a work that is published in a nationwide poster campaign. It clearly makes sense for there to be a difference in the fee charged for these two very different uses, and this is the great advantage of licensing for the client/user/customer. One pays for the use.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">If the use is small the fee is small. If the use is greater, so is the fee.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">To be recognised as the author of ones own work is fundamental to the production and use of any artistic work.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">But it isn’t just a matter for professional photographers. Amateur photographers whether serious producers or just those exchanging images in social media need to have their moral rights recognised as well.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">It is now well documented that UK media (and others of course) trawl social media sites looking for images that they can incorporate in their news coverage. This is not just to widen their coverage but as an active way of reducing costs. There are numerous documented cases where images have simply been lifted and published. No permission sought, no credit given to the photographer and of course no fee paid.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">UK publishers are presenting contracts to photographers which strip them of copyright, economic and moral rights, often for the same or lower fees than were previously paid for single use rights:</span></div>
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<a href="http://www.bjp-online.com/british-journal-of-photography/news/1651087/daily-mail-caught-copyright-infringement-storm"><b><span style="font-family: Arial; font-size: 13pt;">Daily Mail caught in copyright infringement storm</span></b></a> </div>
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The Daily Mail has reaffirmed that it doesn't infringe on photographers' copyright after it was caught using four images without their authors' authorisations<o:p></o:p></div>
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<span style="font-family: Tahoma; font-size: 10pt;">26 May 2010<o:p></o:p></span></div>
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<a href="http://www.bjp-online.com/british-journal-of-photography/news/1644305/bauer-media-facing-rights-grab-furore"><b><span style="font-family: Arial; font-size: 13pt;">Bauer Media facing rights-grab furore</span></b></a><span style="font-family: Tahoma; font-size: 10pt;"> <o:p></o:p></span></div>
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Bauer Media, one of the UK's largest publishing companies, is rolling out new contracts to its freelance photographers, grabbing 'in perpetuity' all of their copyrights and moral rights. </div>
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13 Apr 2010<o:p></o:p></div>
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<a href="http://www.blogger.com/%20http://www.bjp-online.com/british-journal-of-photography/blog-post/1651170/agence-france-presse-slap-photographers"><b><span style="font-family: Arial; font-size: 13pt;">Agence France Presse's slap to photographers</span></b></a><span style="font-family: Tahoma; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: Tahoma; font-size: 10pt;">Agence France Presse filed a complaint against Haiti-based photographer Daniel Morel, claiming he engaged in an “antagonistic assertion of rights” after the photographer objected to the use by AFP of images he posted online of the Haitian earthquake.<o:p></o:p></span></div>
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<span style="font-family: Tahoma; font-size: 10pt;">28 Apr 2010</span></div>
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<a href="http://www.bjp-online.com/british-journal-of-photography/news/1647833/guardian-slash-photographers-fees-update-guardian-letter-published"><b><span style="font-family: Arial; font-size: 13pt;">Guardian to slash photographers' fees</span></b></a><span style="font-family: Tahoma; font-size: 10pt;"> <o:p></o:p></span></div>
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<span style="font-family: Tahoma; font-size: 10pt;">Freelance press photographers have been dealt another blow after Guardian News & Media announced it would cut its space rates by up to 50%, only a few months after it stops paying reproduction fees.<o:p></o:p></span></div>
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<span class="categorydate"><span style="font-family: Tahoma; font-size: 10pt;">01 Apr 2010<o:p></o:p></span></span></div>
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<a href="http://www.newspeak.org.uk/2009/05/13/british-national-party-voters-dont-exist/"><b><span style="font-family: Arial; font-size: 13pt;">British National Party Voters Don’t Exist</span></b></a><span style="font-family: Tahoma; font-size: 10pt;"> <o:p></o:p></span></div>
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<span style="font-family: Tahoma; font-size: 10pt;">In the last few days the British Nationalist Party (BNP) have started to deliver their campaign leaflets. There are at least two varieties but they are both quite similar and their main campaigning point is against immigration. You can see <a href="http://www.thestraightchoice.org/leaflets.php?p=990" target="_blank" title="BNP Election Leaflets">leaflets delivered by the BNP</a> around the UK thanks to <a href="http://www.thestraightchoice.org/" target="_blank">The Straight Choice</a> a website dedicated to mapping campaign leaflets. The current leaflets feature a section titled “Why we’re all voting BNP” with photos accompanied by a bit of text, presumably this is to encourage people to think BNP voters are just like you. Unfortunately for the BNP none of these voters are real and you can prove it by using web-based reverse image searches.<o:p></o:p></span></div>
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<span style="font-family: Tahoma; font-size: 10pt;">May 13, 2009</span><o:p></o:p></div>
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<span style="font-family: Tahoma;">If images are published without a byline, whether this is in a conventional paper printed newspaper or a digital printed Internet article it can create the impression that the image is in the public domain and that no one cares about the paternity. Whilst this is a total false impression, one can see how an ignorant public who have been taught little enough of copyright can come to the conclusion. One of course would not expect those working for newspapers to behave in the same way.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">Publishing without a byline is also the most common way of creating an orphan work. Newspapers do it routinely. Social web sites like Facebook and Flickr routinely strip all metadata from images as part of their operation, so even when photographers diligently complete all metadata fields with image identity and paternity this image is lost on publication. Anyone copying or downloading that image, even if they do it with every intention of contacting the photographers may find it more difficult or impossible to do so.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">But it is not just large publisher, companies and political parties who find steal and appropriate images for their own ends. Individuals do it as well. See the case of Daniel Morel whose images were allegedly stolen by </span><span style="font-family: Tahoma;">Lisandro Suero before being taken up by AFP.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">Images can be copied from the web and re published almost anywhere. Now many photographers (especially amateurs) are quite happy for their work to be copied and redistributed, but in most case the assumption is made that the original source is attributed and a link provided. If there is no requirement for even this minimal social nicety, then even the much abused Creative Commons licensing form ceases to function.</span><span style="font-family: Tahoma;"><o:p></o:p></span></div>
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<h3>
<i><span style="font-size: large;">The arguments against Moral rights.</span></i></h3>
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<span style="font-family: Tahoma;">There are those who feel that creators don’t need, or shouldn’t have moral rights, whilst ironically at the same time asserting their own rights in work that that they have assembled.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">The Newspaper Society (NS), Newspaper Publishers Association (NPA) and Periodical Publishers Association (PPA) who represent publishers in the UK are very happy with the current working practice that means they don’t have to credit photographers (at all).<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">They argue that for employed staff, as they (the employer) supply the cameras and equipment enabling the photographer to work, that therefore the actual creator does not need a byline. Whilst current law gives ownership of the images produced to the employer, on what possible basis should the creator be deprived of recognition for producing his or her own work? There is no reasoning that makes sense of this.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">As today’s photographic publishing ethics demand that documentary and news photographs not be altered or tampered with in anyway, they can only be the creation of one photographer. In the cases of deliberately altered pictures (montages etc) then surely this also must be acknowledged alongside any creator byline?<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">We are told (by the NS, NPA and PPA):<o:p></o:p></span></div>
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<i><span style="font-family: Tahoma; font-size: 10pt;">“<b>Turning to Moral Rights</b>, there are of course various exceptions to the ‘paternity’ and ‘integrity’ rights which operate where a work is produced in the course of employment; for publication in a newspaper, magazine or similar periodical; or for the purpose of reporting current events. These are all practical measures which recognise the exigencies and unique nature of the newspaper and magazine businesses. All the exceptions and qualifications are designed to ensure that the rights do not impose unduly burdensome obstacles on normal business activity. Existing models would be impossible if some of the proposed changes to moral rights were adopted, which would impact adversely on business and press freedom.”<o:p></o:p></span></i></div>
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<span style="font-family: Tahoma;">This is disingenuous to say the least, and does not stand up to examination. <o:p></o:p></span></div>
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<span style="font-family: Tahoma;">To quote Paul Ellis:<o:p></o:p></span></div>
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<span style="font-size: small;">“All newspapers are laid out by automated, scripted, digital processes. Properly by-lining a picture is a simple matter of editing the layout script to extract the photographer's name from the image's IPTC. Nothing more. No "forced delegation of decisions" is needed. Our requirement is utterly cost-free to the publisher.<br />
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<span style="font-family: Tahoma;">The argument made by the publishers relies entirely on the general ignorance on the side of the reader, of the processes involved in publishing in the 21<sup>st</sup> Century.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">The Publishers say:<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;">“Often individual articles, not just whole newspapers, are the work of several individuals.”<o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: Tahoma;">But not photographs of course! Photographs are supposed to be published without addition or removal, so are only the creation of the photographer concerned.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma;">They go on:<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;">“</span></i><i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;">The rationale for the disapplication of the right of attribution vis-à-vis a newspaper or magazine lies partly in the practical difficulties of ascertaining which of the individuals who contributed to the final published version of an article – researchers, journalists, sub-editors – should be accorded a by-line. It is not practical or even possible to identify and credit them all.”<o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: Tahoma;">Yes, publishers really do say this</span><span lang="EN-US" style="font-family: Tahoma;">. If publishers are unable to keep track of a digital image presented to them, or that they have acquired, or that they have scanned themselves from hardcopy or negative, then surely that indicates a severe problem with the internal systems being used rather than a tiresome difficulty presented by outsiders that they have no control over?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma;">We are further told:<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;">“</span></i><i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;">Similarly, a news or picture editor who is briefing a freelance reporter or photographer on some fast-moving drama needs to be confident that the key terms over rights ownership and are well established and understood in advance.”<o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: Tahoma;">This is true. When professional photographers supply a competently run picture desk, everyone involved understands copyright and ownership. How does competency adversely affect moral rights? This should be the very occasion when creators can be assured that all their moral rights will be upheld, surely?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma;">They tell us more:<o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;">“We are unaware of any evidence that the current regime gives rise to any significant negative outcomes either for publishers or for contributors. Individual issues about sub-editing or crediting are easily dealt with on a case-by-case basis. Proposals to strengthen moral rights are less to do with attribution and integrity than with bolstering the economic power of those claiming them.”<o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: Tahoma;">Increasing moral rights so that creators are recognised as such automatically, has no adverse affect on any publisher acting in a law abiding and open manner. Many would believe that the only publisher who it would be seen to gain some sort of benefit out of deliberately withholding the name of a creator would be the sort of publisher that wished to exploit such works without the knowledge of the creator.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma;">There is another benefit to attribution, which has not been mentioned yet, and that is the benefit to the reader, viewer, consumer, or user. Giving a verifiable by-line gives some reassurance to the user that the content they are viewing can be trusted and relied upon.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma;">Publishers continue<o:p></o:p></span></div>
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<span style="font-size: x-small;"><i><span lang="EN-US" style="font-family: Tahoma;">“</span></i></span><i><span lang="EN-US" style="font-size: 10pt;"><span style="font-size: x-small;">The preservation of strong copyright protection for publishers, together with effective means of enforcement, is vital under the UK, EU and global intellectual property regime. The application of moral rights would be addressing a problem whose existence is unclear and would have a detrimental effect both on existing models and on the development of newspaper and magazine companies‟ content and information services across media platforms.”</span><o:p></o:p></span></i></div>
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<span lang="EN-US">Why should strong copyright protection only be for publishers? Surely the same strong copyright protection and this includes moral rights, should be shared by both publisher and creator. After all we would not want to see one law for the rich and one law for the poor, as we know that would be totally unjust and unfair, and equally unacceptable.<o:p></o:p></span></div>
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<span lang="EN-US">The problem with deliberately withholding credits and author information from images and other work is that it immediately creates orphan works, and as we have seen with the British library, currently trying to digitise the national newspaper archive, the biggest single problem they now have is recognising whose work they are trying to digitise. As this is being done by a third party company wanting to make profit from that digitisation process and subsequent distribution, it is a necessary and understandable legal essential that permission must be sought from each and every creator. To do any less would be to totally undermine copyright across the globe. </span></div>
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<a href="http://www.guardian.co.uk/media/2010/jun/07/james-murdoch-british-library?showallcomments=true#end-of-comments"><b><span style="font-family: Arial; font-size: 13pt;">James Murdoch v the British Library</span></b></a><span style="font-family: Tahoma; font-size: 10pt;"> <o:p></o:p></span></div>
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<span style="font-family: Tahoma; font-size: 10pt;">James Murdoch has accused the British Library of acting for commercial gain with plan to digitise newspapers – the library says this is 'patently not true'<o:p></o:p></span></div>
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<span style="font-family: Tahoma; font-size: 10pt;"> <a href="http://www.guardian.co.uk/theguardian">The Guardian</a>, Monday 7 June 2010</span><o:p></o:p></div>
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<span lang="EN-US" style="font-family: Tahoma;">Finally the publishers tell us:</span><i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;"><o:p></o:p></span></i></div>
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<i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;">“</span><span lang="EN-US" style="font-size: 10pt;">Strengthening moral rights would increase uncertainty for publishers and weaken copyright law.”</span></i><i><span lang="EN-US" style="font-family: Tahoma; font-size: 10pt;"><o:p></o:p></span></i></div>
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<span lang="EN-US" style="font-family: Tahoma;">It is very difficult to see how strengthening moral rights could possibly affect publishers adversely in anyway, especially if they are acting in a correct a publicly acceptable moral manner. Asserting all the moral rights discussed would only strengthen publications, and ensure that all dealings with creators were honest and above board, which is I am sure exactly what all publisher want in their dealings with their suppliers.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma;">How can strengthening moral rights weaken copyright law? Moral rights are the bedrock of copyright law. Without Moral rights it is difficult to see how copyright law can work to the advantage of anyone other than the unscrupulous.<o:p></o:p></span></div>
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<span style="font-size: small;">“The exception to the right to be identified as the author of a journalistic work was introduced to the 1988 Act at the last minute and in the days of hot metal typesetting. Then, publishers perhaps had cause to fear that the slug of metal bearing the photo credit or article by-line would fall on the floor and be kicked.”</span></div>
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<b>Viscount Bridgeman</b> <i>speaking in the House of Lords during debate on the Digital Economy Bill, Clause 43 </i><i>Monday 8<sup>th</sup> February 2010</i></span></div>
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<span style="font-family: Tahoma;">“Moral rights are currently one of the poor relations under UK copyright law. Many of the concerns about orphan works that we have talked about today would be cured if there was a proper right of attribution-a proper moral right-under UK law, particularly for magazines and newspapers, which are currently exempted.”<o:p></o:p></span></div>
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<b><span style="font-family: Tahoma;">Lord Clement-Jones</span></b><span style="font-family: Tahoma;"> <i>speaking in the House of Lords during debate on the Digital Economy Bill, Clause 43 </i><i>Monday 8<sup>th</sup> February 2010</i><o:p></o:p></span></div>
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<span style="font-size: large;">So the Moral rights that we need to be put in place for photographers are:</span></h2>
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<li class="MsoNormal"><b><span style="font-family: Arial; font-size: 13pt;">The right of authorship or paternity</span></b>:<span style="font-family: Tahoma;"> any user of the work must state the name of the author unless released from the obligation by the author. This right should be automatic and should never require assertion. The release of obligation should never be as the result of bullying or oppressive coercion. </span></li>
<li class="MsoNormal"><span style="font-family: Tahoma;">The author/creator should also have <b>the right to have a work published anonymously or pseudonymously. </b></span></li>
<li class="MsoNormal"><b><span style="font-family: Arial; font-size: 13pt;">The right of disclosure</span></b>: <span style="font-family: Tahoma;">the author has the discretion to decide whether, when and how the work will be made public. No one should be able to publish a work without first referring to the creator, and abiding by the creator’s decision. </span><b><span style="font-family: Arial; font-size: 13pt;"> </span></b></li>
<li class="MsoNormal"><b><span style="font-family: Arial; font-size: 13pt;">The right to respect for the integrity of the work</span></b><span style="font-family: Tahoma;">: the author may oppose any change, distortion or mutilation of his work and any prejudice to his honour or reputation, no one should be allowed to alter or change a work prior to publishing without the creators express permission.<o:p></o:p></span></li>
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<li class="MsoNormal"><b><span style="font-family: Arial; font-size: 13pt;">The right of withdrawal</span></b><span style="font-family: Tahoma;">: the author may withdraw a disclosed work in return for compensation to the publisher. If a photographer is unhappy with the use of an image within a particular publication, campaign or context, then they should be allowed to prohibit use even when the work has been commissioned.<o:p></o:p></span></li>
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<span style="font-family: Tahoma;">And for these rights to work they need proper legal support both in law and with the means by which enforcement can be initiated and function. Misuses, lack of credit, deliberate or careless transgressions all need financial sanctions easily obtained and enforced. The onus on enforcement should not be left solely to the creator who is often simply not in a position to perform this function<o:p></o:p></span></div>
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<li class="MsoNormal"><span style="font-family: Tahoma;">These rights need to be inalienable, although waiverable. <o:p></o:p></span></li>
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<li class="MsoNormal"><span style="font-family: Tahoma;">They need supporting with legislation. <o:p></o:p></span></li>
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<li class="MsoNormal"><span style="font-family: Tahoma;">Countering or not honouring these rights need to be punishable within law, and this must be made easily accessible. Most creators are sole traders and do not have the finances of medium to large publishing companies. This status must not be allowed to prevent creators getting their rights honoured.</span></li>
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<li class="MsoNormal"><span style="font-family: Tahoma;">Deliberate and careless transgressions of these moral laws need financial disincentives.</span></li>
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<span style="font-family: Tahoma;">The moral rights of creators are basic human rights. They are not costly to follow and honour. They are of a benefit to society, both the user and the creator. All creators are users, and indeed in today's digital social networking culture all users are also creators.<o:p></o:p></span></div>
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<span style="font-family: Tahoma;">If moral rights are allowed to erode further, then we will simply find many of the benefits of digitisation which society values (rightly) so highly will be lost. As a society we must not let that happen.<o:p></o:p></span></div>
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<span style="font-family: Arial; font-size: small;">Pete Jenkins<br />
<a href="http://www.petejenkins.co.uk%20/">www.petejenkins.co.uk </a><br />
<a href="http://www.onlinepictureproof.com/petejenkins" style="color: blue;">www.onlinepictureproof.com/petejenkins</a><br />
<a href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a> <a href="http://www.petejenkinsphotothoughts.blogspot.com/"><br />
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<span style="font-family: Arial; font-size: x-small;"><span style="font-size: small;">Member of: <a href="http://www.nuj.org.uk/">The National Union of Journalists</a></span></span></div>
<br />Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-25717176013878733922010-06-14T22:11:00.002+01:002010-06-16T22:37:42.384+01:00I can't work for national newspapers, but I'm a photojournalist; I need someone to publish my work.<meta content="text/html; charset=utf-8" http-equiv="Content-Type"></meta><link href="file:///C:/Users/PETEJ%7E1/AppData/Local/Temp/msoclip1/01/clip_filelist.xml" rel="File-List"></link><style>
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<span style="font-family: Tahoma;"> A colleague asked me today, what he should be doing with a lifetime of acquired skills as a photographer working for newspapers, when newspapers were down sizing, losing staff and cutting budgets to freelances?</span></div><div class="MsoNormal"><span style="font-family: Tahoma;"><br />
</span></div><div class="MsoNormal"><span style="font-family: Tahoma;">What answers could I give to this question, especially as we have just learned that the <a href="http://www.guardian.co.uk/media/greenslade/2010/jun/10/trinity-mirror-job-losses" style="color: blue;">Mirror Group</a> is following the Guardian, News International and others in losing photographic contributors. </span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span style="font-family: Tahoma;">A few years ago after spending all my working life supplying newspapers as a freelance I had to make the decision to carry on regardless, supplying regular newspaper clients for the same money each year, whilst my expenses increased, and in the case of regional newspapers actually for less money than a few years before, or to say enough is enough.<br />
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My business model of supplying mostly national newspapers was no longer viable.<br />
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Whilst the actual catalyst of change for me was the death of my business partner, it was clear that had that not happened the business would either have slowly expired, or maybe, if I had been lucky my little agency might have been bought out by Getty or one of the others.<br />
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The change was difficult, painful, and hard.<br />
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I left sport - my comfort zone for more than 25 years, and London where I had been based. I ended up going part-time for two years – in Nottingham.<br />
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When I came back to full-time smudging it was not as a smudger, but as a photographer supplying editorial imagery to businesses, non government organisations, and the local authority. I also do a hell of a lot of stock. </span></div><div class="MsoNormal"><span style="font-family: Tahoma;"><br />
From 2003 - 2009 my business improved year on year, quarter on quarter, although the overheads are somewhat scary compared to say 1994 - (the last year I experienced a proper increase in pay from a newspaper).<br />
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This last 18 months have been very difficult, and my gross has remained static. I have had to continue re-inventing myself, my work and finding new clients all this time, and am doing so today. It is not easy; there is no magic spell. Many of us (photographers) will not make it through to retirement as full-time photographers; that is clear. Statistically I suspect those of us who have been in the industry longest will have the best chance of weathering the difficulties.<br />
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The one thing I am certain of, however we survive, and to whoever we manage to sell our work, few of us will find that newspapers form a majority of our clientele going forward. The Guardian, The Telegraph, News International, Manchester Evening News, Liverpool Post, and now Mirror Group Newspapers all have either dispensed with staff photographers or cut back to no more than a handful. <o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: Tahoma;"><br />
Freelancers whilst used in droves twenty years ago, are now hardly budgeted for. We have to get real, and have to understand, that whilst we may be photojournalists by trade, training and profession, we simply aren't going to be supplying newspapers going forward.<br />
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I spoke at length to one of the local universities here in Nottingham a few weeks ago, and virtually none of those who get degrees go into the photographic industry, and none of them become photojournalists, (can't imagine what they do with all those Photography degrees).<br />
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<i>"Where do I go now?"</i> My friend asked.<br />
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Newspapers are not the only outlets for editorial photography.<br />
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In the last fortnight, I have photographed a garden centre and an Aikido Dojo for web sites and promo literature. I have supplied a German photo agency with hundreds of stock images, I have supplied imagery to the local council for their brochures, edited hundreds of images for UK based photo agencies, supplied images to several unions for web use and staff magazines, copied a 1950s photo album and made it into a photo book, resurrected several 'turn of the century' photographs, and reprinted them for private use.<br />
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All of these things have utilised my skills as a digital editorial photographer, none of these clients is a newspaper.<br />
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Nobody said it would be easy.<br />
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Pete Jenkins<br />
<a href="http://www.petejenkins.co.uk/" style="color: blue;">www.petejenkins.co.uk</a><br />
<a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br />
<a href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a><br />
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Member of: The <a href="http://www.nuj.org.uk/" style="color: blue;">National Union of Journalists</a><o:p></o:p></span></div>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com2tag:blogger.com,1999:blog-7049889232983957417.post-32689776977073156842010-05-21T14:05:00.000+01:002010-05-21T14:05:44.187+01:00James Murdoch backs copyright for Creators!!<div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Wow, what a day, only just early afternoon and I find myself allied to the most unlikely of people.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">James Murdoch, chairman and chief executive of News Corporation, Europe and Asia, opened UCL’s Centre for Digital Humanities last night with a lecture that attacked the British Library for its plans to make a digital archive of over 40 million newspapers available online.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">The full presentation, and an interesting one it is too, is reported by the Press Gazette headlined "<a href="http://www.pressgazette.co.uk/story.asp?sectioncode=6&storycode=45481&c=1"><span style="color: blue;">James Murdoch: British Library’s newspaper archive harms the market</span>.</a>"</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Seems like Mr Murdoch and I agree on this one, although I suspect for slightly different reasons.</span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">There is background to this. Murdoch refers in his Lecture to the <a href="http://www.bl.uk/news/2010/pressrelease20100519.html" style="color: blue;">announcement on the 19th May by the British Library</a> that they are going to digitise the <a href="http://www.bl.uk/aboutus/quickinfo/loc/colindale/index.html"><span style="color: blue;">National Newspaper collection.</span></a></span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><span style="color: black;">This follows up the original <a href="http://www.bl.uk/news/2009/pressrelease20091016.html" style="color: blue;">announcement</a> in October last year that the project was going ahead, although as I am sure wyou will notice as I did that this was supposed to be being funded by a not insubstantial £33 million committment from the Government, and no mention was made of monet making ventures.</span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Whilst I understand why the British Library want to move the National Collection, and of course why they want to digitise it, and in addition many would agree that the digitisation of such an important archive is to commended, I would question the way that it is being done.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Bringing in Industry so that this is a cost free exercise for the BL, well I understand the motive too, but is it actually in line with the altruistic nature of the project?</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">I would go further; is it legal? For myself, as one individual photographer who has been supplying UK newspapers since the mid-seventies, I am aware that I have many (scores of) thousands of images represented in these newspapers, that the British Library is prepared to give to a third party commercial concern, (are DC Thompson doing this out of concern for the nation, or because they see a money making opportunity here?), it is my images and those of many other photographers like myself, and the words of many writers that are going to be ‘sold’ by this new enterprise to pay for the scheme.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">James Murdoch is correct to say that newspapers lodge their works with the British Library, and that at no point in the past has it been made clear that these works would then go on to produce revenue for the British Library, nor were they (the newspaper publishers) asked. The British Library is not a charity shop, and if it is to become one then works have to be clearly donated, not appropriated via the back door.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">What James omitted to say, is that a very large proportion of the works that are published in British Newspapers, do not belong to even the publishers, and they (the publishers), have themselves (quite rightly) to seek the right to re-use published material after first use, owned by freelance photographers and journalists. At no time have individual creators like myself been asked whether we wish to donate our material to the British library for it to launch the first (of many?) money making projects, on the back of our created works.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">What will make this even more difficult, is that even if each and every creator is to be asked, (not just the publishers), if permission is given, and I am sure that many will grant permission; but even if every creator is to be asked, because at their own insistence the 1988 copyright act excused newspapers publishers from being obliged to credit authors and photographers, there are hundreds of thousands of images for which it will be less easy for permission to be given, even though many of those authors are around today and still producing created works.</span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">One can see now why the British Library and others were so keen to get the commercialisation of orphan works on the agenda of the Digital Britain Bill last month, and why creators such as photogrpahers are so thankful that Clause 43 which would have legalised this move by the British Library was struck out of the bill, (thanks in large to the Conservative and Liberal Members of Patrlaiment who opposed the clause on our behalf).</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">But hold on. If Clause 43 was lost from the Bill, whay are the British Library carrying on regardless. Have they been lagging behind on current events?</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Or has somebody forgotten to tell us somthing.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">And no British Library, you do not have blanket permission from me for you to sell or lend out my works for pay, without my specific permission. And before I grant that permission I want to know chapter and verse please. </span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Thank you</span></div><div style="font-family: Verdana,sans-serif;"><br />
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</style></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Pete Jenkins</span><a href="http://www.petejenkins.co.uk/" style="color: blue;">www.petejenkins.co.uk</a> <br style="color: blue;" /><a href="http://www.onlinepictureproof.com/petejenkins" style="color: blue;">www.onlinepictureproof.com/petejenkins</a><br />
<a href="http://www.blogger.com/goog_274990605">www.photographerspro.eu/pete_jenkins/ </a><span style="font-size: small;"><a href="http://www.blogger.com/goog_274990605"></a><a href="http://www.photographerspro.eu/pete_jenkins/%20%20"> </a><a href="http://www.petejenkinsphotothoughts.blogspot.com/"><br />
</a></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"> </span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Member of: The <a href="http://www.nuj.org.uk/">National Union of Journalists</a></span></div><span style="font-size: small;"> </span><br />
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</span></div>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-81273430530413775122010-05-18T14:55:00.002+01:002010-05-18T16:29:13.306+01:00BBC Open the Copyright Battle<div style="font-family: Verdana,sans-serif;"> Here we are at the start of a new Parliament, and we can be forgiven for thinking that all that nastiness with regard to our copyright and Clause 43 is long gone and behind us. </div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">But no, regrettably that is not the case. The BBC, not an organisation to sit on its hands, is out of its corner and probing, already pitching for the next round of copyright attrition.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><h1 style="font-family: Verdana,sans-serif;"><a href="http://news.bbc.co.uk/1/hi/business/10118823.stm"><span style="color: blue; font-size: small;">Copyright: time to change the laws?</span> </a><span style="font-size: x-small; font-weight: normal;">headlines the BBC website</span></h1><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Before I continue, I believe that we all have to understand the difference between photographers, organisations such as the BBC, News International, and the end user or consumer, the reader and viewer. All of us are links in this chain, in some cases, a photographer producing images will also be a consumer, not necessarily of his or her own images, but of other creator's work (images, music, or perhaps written material).</span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><ol style="font-family: Verdana,sans-serif;"><li><b>Creators</b> - These are the people who actually make the image, the music, write the books and articles. These are the people who (professionally) need paying for the time, effort and equipment that goes into making the works that we all consume. The majority of these creators are either sole traders or small businesses, perhaps employing one or two assistants directly, and probably hiring, renting, consuming in the course of the production of their work. However, not all creators are independent freelances, there are still a large number of creators who are employed and the work t<span style="font-size: small;">hey create during the course of t</span>heir employment belongs, or the intellectual copyright, currently belongs to their employer. In these cases the creators have few if any rights at all. All of the works created by these creators, freelance or employed, are covered by the current law which protects copyright for the lifetime of the creator and for seventy years after their death.</li>
<li><b>The Users, Exploiters, Manipulators, Dealers</b>, such as the BBC, News International, GNM - These are the (mostly) large corporations, companies and businesses that deal in imagery, in most cases to enhance their own products, or who put together collected created works and sell them on. Whilst these exploiters do frequently create their own works through the employment of creators, more and more of the actual creating is left to freelance individuals and small companies.</li>
<li><b>The Consumer</b> - who is arguably the most important part of the chain, as without the consumer there would be no professional reason for a creator to create, nor a reason for the 'Users' to use. The consumer buys the product, surfs the Internet, reads the book etc.</li>
</ol><ol style="font-family: Verdana,sans-serif;"></ol><div style="font-family: Verdana,sans-serif;">So why does the BBC want to change the laws around copyright so much? For creators it is simple, we want to enforce the existing laws and beef them up a little. How many people, consumers and creators realise that (in the case of photographers), <a href="http://www.opsi.gov.uk/acts/acts1988/ukpga_19880048_en_4#pt1-ch4-pb1-l1g77" style="color: blue;">we have to assert the right to be recognised as the authors/creators of our own work</a>? This should be a simple human right. Why should we have to insist on a credit alongside our images? Just look at the site and piece I am referring too, and note that although the 'Stuart Franklin' picture has been credited to his agency Magnum, there is no mention of the photographer of the second image of the 'Globe Theatre'. (This incidentally is now an orphan!) Stuart should also have been personally credited for his iconic image not just in the text.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">How many people know that even if we do 'assert our rights to be recognised as the authors of our work', that in the case of <a href="http://www.opsi.gov.uk/acts/acts1988/ukpga_19880048_en_4#pt1-ch4-pb1-l1g79" style="color: blue;">newspapers, magazines and many books, the publisher is under no obligation to recognise these rights</a>. UK newspapers and magazines publish - deliberately - thousands of orphan images every week. And because their work is not acknowledged, how many photographers find that they simply do not get paid by publishers who have used work kept on file, and just sit back and wait for the photograpaher to send an invoice? No publisher should ever be just allowed to publish a creator's work without the express permission of that creator and without proactively paying for the right to do so.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">How many users and consumers realise that organisations such as the BBC, (totally against the spirit of all the copyright legislation we have) routinely insist on stripping the creator of all rights that they have - moral rights and commercial rights, on the 'give us everything or we won't use you' stick (not carrot and stick, just stick and stick). It might be more palatable for the humble creator if the BBC and other large media corporations were to pay extra for the privilege of obtaining all these extra (and commercially lucrative) rights, but they don't, fees have remained static for over a decade, (whilst costs have more than doubled, let alone taking into account inflation).</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"> All of us are affected in the current recession and as a result of the banking crisis and ongoing cut-backs, and need to save. As budgets are cut by the large users, smaller operations find themselves losing work and clients, or at the least those same clients with the lower budgets, insisting on more productivity for, (usually), less remuneration. In a cut-throat business, where there is a lot of competition, and ironically, a shrinking market despite the huge expansion created via the Internet, creators can't cut their costs any further.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">The BBC for instance has started a shift from wholly owned content to taking content from freelances and small companies. This has an immediate benefit for the Beeb in that employers costs are slashed in one easily achieved stroke. But this creates a new dilemma for the exploiters, (particularly the BBC). By using 'freelance' talent rather than 'employing' it, the overheads and costs are hugely reduced. Bullying in the marketplace keeps the cost down of using those created works, it is often quoted quite correctly that the National Newspapers (for instance) have not increased their commission rates for photographers in sixteen years, (looking at my own receipts and talking to other photographers, suggests that this really is the case). All this is good for the exploiter, so where is the dilemma you ask? </div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">The costs have been reduced, freelances are kept on a low fee, but what about exploitation of that work? Newspapers and the BBC want to be able to use that content across multiple platforms. Wholly owned content can be used freely, legally freelance content can't. Newspapers are producing websites, and the BBC publishes books, magazines and websites; for these big corporations it is tiresome to have to pay content providers each time they want to reuse content. They want to save manpower and cost by simply being licensed to use the material as often and in whatever manner they wish. This should be good for the creators as more licenses should mean more pay. But no, that is not how the users want the system to work. They want everything. The easiest way for them to do this is to trample all over the rights of the creator and just insist on 'give us everything' and demand a complete rights transfer. Totally against the spirit of the <a href="http://www.opsi.gov.uk/acts/acts1988/ukpga_19880048_en_1.htm" style="color: blue;">1988 Copyright Designs and Patent Act</a>, <a href="http://www.wipo.int/treaties/en/ip/berne/trtdocs_wo001.html">the<span style="color: blue;"> Berne Convention</span></a><span style="color: blue;"> </span>and <a href="http://www.wipo.int/treaties/en/ip/wct/trtdocs_wo033.html">the <span style="color: blue; font-size: small;">WIPO Copyright Treaty</span></a></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">This is the extract from the <a href="http://www.bbc.co.uk/supplying/freelancers/docs/terms_of_trade_freelancers_pc5.pdf" style="color: blue;">BBC Freelance Contract</a></div><div style="font-family: Verdana,sans-serif;"></div><div style="font-family: Verdana,sans-serif;"><i><span style="font-size: x-small;">17. Intellectual Property Rights</span></i></div><ol><li style="font-family: Verdana,sans-serif;"><i><span style="font-size: x-small;">In consideration of the payment of the Fee, the Freelance hereby assigns and otherwise agrees to assign to the BBC absolutely and with full title guarantee, and warrants that any individual, agent or sub-contractor engaged by the Freelance to assist in providing the Product(s) and/or Services have assigned and/or agreed</span><span style="font-size: x-small;"> to assign to the Freelance absolutely and with full title guarantee all IPRs (both existing at the date hereof</span><span style="font-size: x-small;"> and in the future) in any Product(s) in all languages throughout the Universe for the full period of such rights</span><span style="font-size: x-small;"> (including all rights to renewals and extensions thereof).</span></i></li>
<li style="font-family: Verdana,sans-serif;"><i><span style="font-size: x-small;">The Freelance hereby to the extent permissible by law, waives irrevocably and warrants that any individual,</span><span style="font-size: x-small;"> agent or sub-contractor engaged by the Freelance to assist in providing the Product(s) and/or Services have</span><span style="font-size: x-small;"> to the extent permissible by law waived irrevocably the benefits of any provision of law known as “moral</span><span style="font-size: x-small;"> rights” (including without limitation any right of the Freelance, the individual, agent or sub-contractor under</span><span style="font-size: x-small;"> sections 77 to 85 inclusive of the Copyright, Designs and Patents Act 1988 and under any resale right arising</span><span style="font-size: x-small;"> from EU law) or any similar laws of any jurisdiction in which waiver is permissible.</span></i></li>
<li style="font-family: Verdana,sans-serif;"><i><span style="font-size: x-small;">The Freelance hereby grants the BBC a non-exclusive, royalty free, irrevocable licence to use and sublicence</span><span style="font-size: x-small;"> any IPRs in any Product(s) under the Contract which have not, for whatsoever reasons, been</span><span style="font-size: x-small;"> assigned under this Clause 17.</span></i></li>
<li><i><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">The Freelance hereby warrants that there are no potential, threatened or actual claims by its agents or</span></span><span style="font-family: Verdana,sans-serif; font-size: x-small;"> subcontractors in respect of patents or potential patents.</span></i></li>
</ol><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">Copyright law is being trashed by the large corporations at the direct expense of the creator. The BBC will only use photographers if they voluntarily give up their copyright, and then they exploit those rights to the nth degree. Many will see this as nothing more than economic bullying. It might also be seen as outright exploitation. Yes, the creator 'technically' has a choice, but 'give us your images on our terms or we won't use you ever again', in a diminishing marketplace becomes a very difficult choice.</div><div style="font-family: Verdana,sans-serif;"></div><div style="font-family: Verdana,sans-serif;"></div><div style="font-family: Verdana,sans-serif;">Diminishing marketplace? How can that be? There are more images used now than every before in history. The Internet alone uses uncountable numbers of new images every day. But with Publishers and corporations employing fewer staff to create, there are more freelances out there. And with colleges and universities churning out more students every year onto the marketplace, than there are places for them in industry, (more it is said than there are places in the industry). And combine that with the perceived ease of access to digital imagery, (every owner of a digital camera, seems to think that this enables the user to produce the imagery of the thirty year professional), we can perhaps begin to see where some of the problems lie.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">Publishers are keen to exploit today's marketplace, and are currently doing so against the spirit of international copyright. The next step, and this is what we are currently seeing is an attempt to change the law so that what at the moment is merely immoral and reprehensible, becomes legally acceptable.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">It isn't just the BBC, much in the Public Eye recently has been the <a href="http://www.bjp-online.com/public/showPage.html?page=866785" style="color: blue;">Guardians Rights Grab</a> as outlined in their called <span style="color: blue;">'</span><a href="http://www.guardian.co.uk/guardian/article/0,,409883,00.html" style="color: blue;">Freelance Charter</a><span style="color: blue;">'</span>.</div><div style="font-family: Verdana,sans-serif;"><i><span style="font-size: x-small;"><br />
</span></i></div><div style="font-family: Verdana,sans-serif;"><i><span style="font-size: x-small;">We accept your contribution on the basis that you agree to the terms set out below ("the licence") and grant us irrevocably and unconditionally the following rights to use, publish, transmit or license your contribution throughout the world for the full period of copyright in your contribution including all renewals, reversions, extensions and revivals of such period. </span></i></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">They don't demand 'Copyright', but they demand the right to behave as if they have!!</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">Going back to the BBC piece:</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><i>"The issue of copyright has to strike a delicate balance between protecting the creators of music, words, or photographs and the dissemination of such material to a wider public. On the one hand, you want to ensure that the creators get paid for what they create. On the other, if copyright protection is too tight then dissemination of material becomes too restricted."</i></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><i><br />
</i></span></div><div style="font-family: Verdana,sans-serif;">This sounds very reasonable doesn't it? Well it does until you actually look at what is being said and who says it, and what the actual facts of the situation are.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">I would start off by questioning this 'delicate balance' idea. It isn't that delicate at all. It is quite simple. An artist creates a work. He or she then licenses that work, usually through a middleman, whether it be a recording company, the BBC or a large publishing corporation. The work is then licensed to be distributed or used through that facilitator. The license will outline the terms of distribution or use, and the return that the artist may expect. Nothing difficult about that surely.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">The keys words here are <span style="font-size: x-small;"><i>"</i><i>the dissemination of such material to a wider public" </i><span style="font-size: small;">which is controlled by our large corporation. That corporation can easily work within the terms of the contract between it and the creator. A clearly defined agreement tells the user what rights it has and also protects the creator. It is in the interests of the user of the created work to smudge the definition of copyright, because that can mean greater exploitation for less outlay, something that currently many of the larger corporations appear to be doing by economic force.</span></span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">This in itself doesn't affect the consumer, who is usually totally unaware of the battles going on between creator and the middlemen. The only loser is the creator. The loosening of the Copyright laws will only be at the expense of the creator, the party already under the greatest pressure. There is no advantage to the creator at all, in fact exactly the opposite. The net gain will be by the middlemen, not the consumer, and at a direct cost to the creator.</span></span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">Copyright has remained largely unchanged since <a href="http://www.opsi.gov.uk/acts/acts1988/ukpga_19880048_en_1.htm" style="color: blue;">1988</a>. The users and middlemen have certainly suffered no loss or restriction and none have yet outlined such loss. Nor have consumers suffered. That publishers choose to put so much more content on the Internet on a basically free of charge basis has been a direct benefit to the casual consumer. The problem for the creator is that the publisher wants to pay little or nothing for that free content and wishes it to be made available by the creator for free, and often at the cost of the conventional publication that it may well replace.</span></span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">Stuart Franklin when talking about images is quoted as saying:</span></span></div><div style="font-family: Verdana,sans-serif;"><br />
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</style><i><span style="font-size: x-small;"> "We know exactly who is drawing photographs off our web site, we know who is downloading them and who has access to them." </span></i><span style="font-size: x-small;"><span style="font-size: small;"></span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><br />
</span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">Which suggests that he is talking about all images copied from the Magnum website, but actually what he is referring to , if you listen to the <a href="http://www.bbc.co.uk/iplayer/console/p0077m2n"><span style="color: blue;">initial interview</span> </a>(BBC Iplayer so it may not be there for long), are clients registered on their site and legitimately downloading images, and indeed in the original interview it certainly sounded to me like he said downloaded, rather than 'drawn', which in any case would be a strange word for a photographer to use when referring to websites. </span></span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">As it stands at the moment, it is very difficult indeed to log who copies an image from my own website or any other for that matter. What can be done however is use software programs to trace images used elsewhere on the web that might belong to one. Large organisations such as Getty use <a href="http://www.picscout.com/" style="color: blue;">Picscout</a><span style="color: blue;">,</span> and recoup the not inconsequential cost by suing copyright infringers.</span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><br />
</span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><br />
</span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">The reference to 'if Shakespeare's works were still in copyright' seem pointless. As he died over 400 years ago his work is well out of copyright and therefore in the public domain. If he were alive today, he would be taking advantage of his undoubted talent and exploiting his works commercially, hopefully being dealt with fairly and not having publishers demand all rights to his work - which would indeed be a travesty!</span></span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">Olivier Laurent's comments are interesting, but it is unclear to what he is referring to from the quotes extracted here, and indeed listening to the original broadcast doesn't help us much either. What industry is he referring to exactly? </span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><br />
</span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;">Presumably it can't be creators as such because we have no control of the web. His comment: </span></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><br />
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</style><i style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;">"Twenty years ago you cut pictures out of a paper and put them on your wall - that would be stealing as well," </span></i></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif; font-size: small;">Is not strictly speaking factually correct either. He might have a point if the cutting were exhibited in a public place as artwork, but it would not be against any law I am aware of to display a cutting on a wall in your own home for example.</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"><br />
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</style><span style="font-family: Verdana,sans-serif; font-size: 12pt;">William Fisher at Harvard University thinks copyright protection is too strict does he. Well he would wouldn't he, he wants to be able to copy other peoples work and enable them to be incorporated into new mashed up work. Why should this not be done be asking permission first?</span></div><div style="font-family: Verdana,sans-serif;"><br />
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</style><i><span style="font-family: "Times New Roman"; font-size: x-small;">"There needs to be more creative freedom," he believes. Freedom to use other peoples work that is...</span></i></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"> He goes on:</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-family: "Times New Roman"; font-size: 12pt;"><br />
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</style><i><span style="font-family: Verdana,sans-serif; font-size: x-small;">"The current system is over-protective. It extends copyright protection to too every snapshot, every digital image - billions are being created every minute all around the world and they are all protected by copyright law. ... </span></i><meta content="text/html; charset=utf-8" http-equiv="Content-Type"></meta><meta content="Word.Document" name="ProgId"></meta><meta content="Microsoft Word 9" name="Generator"></meta><meta content="Microsoft Word 9" name="Originator"></meta><link href="file:///C:/Users/PETEJ%7E1/AppData/Local/Temp/msoclip1/07/clip_filelist.xml" rel="File-List" style="font-family: Verdana,sans-serif;"></link><style>
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</style><i><span style="font-family: Verdana,sans-serif; font-size: x-small;">too much copyright protection impedes cultural conversations and cultural usage" </span></i></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><br />
</span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">He continues:</span></div><div style="font-family: Verdana,sans-serif;"><br />
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</style><i><span style="font-size: x-small;"><span style="font-family: Verdana,sans-serif;">"It would be better if the photographer registered any image be wanted to protect with an online registration system," he says, "and that any other work was in the public domain." </span></span></i><span style="font-family: "Times New Roman"; font-size: 12pt;"></span></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: x-small;"><span style="font-size: small;"> </span><i><br />
</i></span></div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">This would then mean that any image published on a personal web site on Facebook, on Flickr where the creator was not a professional and had not automatically registered his or her work could be used, by anyone, for any purpose, anywhere.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">Amateurs sharing their work with their friends could not do so unless they were willing to risk it being hijacked, not just by some student copying the work to use say in a new painting or artwork, but the BBC or News International copying it and popping it into their own picture libraries for use as needed. And of course no copyright protection, means no moral rights, and no credits, and absolutely no control over where, or by whom, these images could be used. (Not just the BBC, but what about the big oil companies, tobacco companies or the BNP and other political parties?)</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">People like William Fisher clearly mean well, but they simply to do not seem to think through these simplistic proposals, or the possible consequences of what they suggest.</div><div style="font-family: Verdana,sans-serif;"><br />
</div><div style="font-family: Verdana,sans-serif;">But the BBC? I bet they simply love William Fisher, simplistic proposals and all...</div><div style="font-family: Verdana,sans-serif;"><br />
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</style></div><div></div><div></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Pete Jenkins<br />
<a href="http://www.petejenkins.co.uk/" style="color: blue;">www.petejenkins.co.uk </a><br style="color: blue;" /><a href="http://www.onlinepictureproof.com/petejenkins" style="color: blue;">www.onlinepictureproof.com/petejenkins</a></span><span style="font-size: small;"><br style="color: blue;" /><a href="http://www.photographerspro.eu/pete_jenkins/" style="color: blue;">www.photographerspro.eu/pete_jenkins/</a><span style="color: blue;"> </span> <br />
</span></div><div style="font-family: Verdana,sans-serif;"></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Member of: The<a href="http://www.nuj.org.uk/"> <span style="color: blue;">National Union of Journalists</span></a></span></div><br />
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Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-2560551329063345452010-03-30T14:56:00.003+01:002010-03-30T15:04:13.931+01:00Oppose Clause 43 - Digital Economy BillWith the changing environment in publishing, the gradual introduction and increase of digital imaging, the increasing popularity of the Internet (World Wide Web) and the pressure which conventional publishing finds itself as a result, it was clear that the British Government would at some stage have to look again at copyright and beef it up for the benefit of the new digital generation. After all with the popularity and availability of networking site such as Facebook, Flickr, MySpace and many others, in the 21st century every one is a potential creator. My eight-year-old son is taught to use the computer and the Internet as part of his education and also publishes items on the web for others to look at and read.<br /><br /><br />So the Digital Economy Bill was anticipated by many of us, and much of this legislation is of great credit to the current administration. However, as a sole-trader, and a creator in this ‘Digital Age’, I find a number of elements of this proposed bill of great worry to me. I have seen numerous letters from David Mandelson, and have spoken at length to the Intellectual Property Office, and I have heard all the reassurances that they make, but there are a number of issues that remain, none of which seem to have a solution, and all of which will undoubtedly cause huge problems to creators such as myself, and potentially therefore all creators whether they be professional as I am, or merely enthusiastic amateurs as most social networking creators are. All of us, professional or amateur will be affected by this legislation, and are all citizens and voters, either now or in the future (under age creators will face the same problems that those over-18 will.)<br /><br /><br />The main issue that needs attention is the part of the Digital Economy bill labelled Clause 43. This deals specifically with orphan works, extended collected Licensing and Moral Rights.<br /><br /><br />The following Organisations Copyright Licensing Agency (CLA), British Broadcasting Corporation (BBC), British Film Institute (BFI), Publishers Association (PA), Association of Learned and Professional Society Publishers (ALPSP), and Educational Recording Agency (ERA), released a statement including the following:<br /><br /><br /><span style="font-style:italic;"><span style="font-weight:bold;">As you are aware, the draft legislative provisions to enable the licensing of orphan works and extended collective licensing schemes have been the subject of intense debate and detailed amendment during the passage of the Digital Economy Bill through the House of Lords. <br /><br />As the Bill awaits its Second Reading in the Commons, these provisions remain imperfect. But they are a significant improvement on the original Clause 42. As a satisfactory compromise between diverse interests, they should be considered a success. <br /><br />A nuanced debate of the strengths and weaknesses of the Clause is now academic. The opportunity has passed for it to be amended further. But there is still a real danger that the Clause could be jettisoned altogether, during the wash-up.<br /><br /><br />We believe this outcome would be catastrophic for the creative industries. The strategic importance of making orphan works available and, for some industries, enabling extended collective licensing schemes, cannot be overstated. Failure to make orphan works available is likely to result in far cruder alternative solutions, which would run the risk of contravening the Berne 3 step test, and which would have far-reaching and damaging consequences for our sectors. </span> </span><br /><br />In what way disastrous? The publishers give us no overwhelming argument as to the benefits of this proposed legislation, other than it is a convenient way to exploit material that legally they currently cannot access. It is perhaps worth noting that the ‘creative industries’ they refer to are the actual users and manipulators of created works (all large companies and corporations), rather than the actual creators themselves who produce the work, nor the end users who view it (and pay for it ultimately).<br /><br /><br />Failure to make orphan works available for commercial exploitation will not actually affect anyone. It doesn’t now, why would it in the future? <br /><br /><br />Enabling collective licensing schemes is something that is favoured specifically by the BBC, and again is not for the benefit of either the creator, or the end viewer, but a device by which the BBC and other manipulators and users of created works envisage cutting down on the bureaucracy of using works, and at the same time cheapen their use. E.C.L. reduces fees to a common (low) standard value, and eliminates the need to ask permission for use. The most difficult to acquire, the rarest of images, become reduced in value to the most common and the mundane. The creator loses control over whether an image can be used, or indeed how much can, or should be charged. The most difficult to obtain image, taken in the most hostile environment, becomes reduced in value to the simplest snapshot.<br /><br /><br />When orphan works were first discussed, we (creators) were told there was an ‘orphan works’ problem. It was explained to us that libraries and academic institutions wished to digitally store previously published works and that many of these could not be identified. These institutions wanted to avoided being held legally liable for abusing copyright. Now few creators would argue that there is a cultural benefit to the storage of published works on large cultural databases such as suggested.<br /><br /><br />Much of the problem comes from the various exceptions in the 1988 copyright Act, in which not only do creators have to assert the right to be recognised (credited) for their work, but in the cases of newspapers, magazines and textbooks the right to be credited was withdrawn in any case. Therefore many of our published works went un-credited and still do. Thousands upon thousands every day.<br /><br /><br />The original objection to crediting work cited by Publishers was to do with hot-metal type-setting. This has ceased to be an issue for over a decade, and now there is absolutely no reason for a credit to be withheld, other than there is an advantage to the publisher in that an orphan can be created for future exploitation, (I honestly can see no other reason for deliberately withholding credits.)<br /><br /><br />The right to be recognised as the creator of a work is surely a basic human right, and as such it is difficult to see any reasoned argument against all images and created works being credited on publication, wherever they are published.<br /><br /><br />If Moral rights were beefed up and made inalienable then future orphans would be eliminated overnight, and if this were backed up by appropriate legislation then lack of credit on the Internet could be dramatically cut as well.<br /><br /><br />If basic copyright were taught in schools alongside basic computer literacy then those using the Internet and creating works would know that copying is not acceptable without permission. Our education system is possibly the best in the world – let us use it.<br /><br /><br />Major publishers and organisations such as the BBC conveniently forget how created works come about. If all major publishing corporations continue to squeeze the professional creator in the way that has been done over the past twenty years, professional creators may well find themselves unable to continue to work full-time and maintain a living. Whilst photojournalists have been pointing to the stagnation of Fleet Street rates since 1994 – the commission and space rates have not even kept up with inflation yet the cost of working for a photographer such as myself has almost doubled in that time. Only last week one national newspaper suggested that it wished to reduce rates being paid to contributing photographers for the second time in a year.<br /><br /><br /><span style="font-weight:bold;">Is it too much to ask that Moral rights be made inalienable therefore stopping orphan works being created?</span><br /><br /><span style="font-weight:bold;">Is it really too much to ask that reproductions of created works get a byline or credit?</span><br /><br /><span style="font-weight:bold;">Is it really too much to ask that a user ask permission before using or re-using a created work?</span><br /><br /><span style="font-weight:bold;">Is it too much to ask that users pay a fair rate for created works rather than continually finding new ways and reasons to reduce already low fees?<br /></span><br /><br />I think it is about time that we learned to recognise the importance of our creators, most of whom are simple lone traders, people who believe passionately about what they do, and because of their low status in the food chain are vulnerable. Let us not kill the goose that laid the golden egg. We have an opportunity here to improve the working environment for creators, and show the respect that society has for them. <br /><br /><br />Clause 43 of the Digital Economy Bill is dangerous to creators and could create an environment where:<br /> <br />Extended Collected Licensing controlled by the Publishing industry becomes a standard way of paying for created works<br /><br /><span style="font-weight:bold;">where creators are refused acknowledgements or credits as a matter of course</span><br /><br /><span style="font-weight:bold;">where creators lose control of their works and have no say in their use or publication</span><br /><br /><span style="font-weight:bold;">where as a result of the above professional creators become unable to sustain a respectable standard of living<br /></span><br /><br />This must be opposed, and if legislation is required then make it legislation that is positive towards creators. Let us not lose this chance – think of the consequences if we get it wrong.<br /><br /><br />We have pledged, as photographers and creatives, to actively participate in the construction of primary legislation enabling the cultural use of existing orphan works. This legislation should satisfy legitimate needs of museums and conservators, while not abusing the rights or terminating the careers and businesses of the people who produce the "content" that the "creative industries" market.<br /><br /><br />Pete Jenkins<br /><a href="http://www.petejenkins.co.uk ">www.petejenkins.co.uk </a><br /><a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br /><a href="http://www.photographerspro.eu/pete_jenkins/ ">www.photographerspro.eu/pete_jenkins/ </a> <br /><br /><br />Member of: <a href="http://www.nuj.org.uk/">The National Union of Journalists</a>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-45932639096902376052010-03-25T20:44:00.010+00:002010-03-25T21:27:45.604+00:00David Lammy at SABIP<meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 9"><meta name="Originator" content="Microsoft Word 9"><link rel="File-List" href="file:///C:/Users/PETEJ%7E1/AppData/Local/Temp/msoclip1/01/clip_filelist.xml"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:donotoptimizeforbrowser/> </w:WordDocument> </xml><![endif]--><style> <!-- /* Font Definitions */ @font-face {font-family:Wingdings; panose-1:5 0 0 0 0 0 0 0 0 0; mso-font-charset:2; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:0 268435456 0 0 -2147483648 0;} @font-face {font-family:Tahoma; panose-1:2 11 6 4 3 5 4 4 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-520078593 -1073717157 41 0 66047 0;} @font-face {font-family:"Arial Unicode MS"; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-charset:128; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-1 -369098753 63 0 4129279 0;} @font-face {font-family:"\@Arial Unicode MS"; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-charset:128; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-1 -369098753 63 0 4129279 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} h1 {margin-right:0cm; mso-margin-top-alt:auto; mso-margin-bottom-alt:auto; margin-left:0cm; mso-pagination:widow-orphan; mso-outline-level:1; font-size:24.0pt; font-family:"Arial Unicode MS"; mso-font-kerning:18.0pt; font-weight:bold;} p.MsoBodyText, li.MsoBodyText, div.MsoBodyText {margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:Arial; mso-fareast-font-family:"Times New Roman";} p.MsoBodyTextIndent, li.MsoBodyTextIndent, div.MsoBodyTextIndent {margin-top:0cm; margin-right:0cm; margin-bottom:0cm; margin-left:36.0pt; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} a:link, span.MsoHyperlink {color:blue; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {color:purple; text-decoration:underline; text-underline:single;} p {margin-right:0cm; mso-margin-top-alt:auto; mso-margin-bottom-alt:auto; margin-left:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Arial Unicode MS";} span.description {mso-style-name:description;} @page Section1 {size:612.0pt 792.0pt; margin:72.0pt 90.0pt 72.0pt 90.0pt; mso-header-margin:36.0pt; mso-footer-margin:36.0pt; mso-paper-source:0;} div.Section1 {page:Section1;} /* List Definitions */ @list l0 {mso-list-id:491797205; mso-list-type:hybrid; mso-list-template-ids:-2021762712 1129610014 -1193670056 1267361266 -1910982152 -183495072 -1032257800 -60685158 23913838 1560605130;} @list l0:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:36.0pt; mso-level-number-position:left; text-indent:-18.0pt; mso-ansi-font-size:10.0pt; font-family:Symbol;} ol {margin-bottom:0cm;} ul {margin-bottom:0cm;} --> </style> <p style="font-family: arial;font-family:verdana;" ><span style="font-size:100%;">I would like to share with you this U-tube coverage of the event that was held last Tuesday morning (22<sup>nd</sup> March) by SABIP (<a href="http://www.ipo.gov.uk/press/press-release/press-release-2008/press-release-20080502.htm">Strategic Advisory Board for Intellectual Property</a>) which advises the Intellectual Property Office. Five members have been appointed to SABIP under the Chairmanship of Joly Dixon, CMG. They are:</span></p><ul style="font-family: arial;font-family:arial;" ><li><span style="font-size:100%;">Dame Lynne Brindley - Chief Executive of the British Library
<br /></span></li><li><span style="font-size:100%;">Dr Cathy Garner - Chief Executive of Manchester Knoweldge capital
<br /></span></li><li><span style="font-size:100%;">Professor John Pickering - Member of the Competition Appeal Tribunal and Business Consultant</span></li><li><span style="font-size:100%;">Dr Jonathan Spencer, CB - Former Ditrector General at the Department of Trade and Industry and Constitutional Affairs and member of the Solicitors' Regulation Authority</span></li><li><span style="font-size:100%;">Iain Wilcock - Founder and Deputy Managing Director of Quester capital, a health care investment company
<br /></span></li></ul><span style="font-family: arial;font-family:arial;font-size:100%;" ><o:p></o:p>
<br /></span><span style="font-family: arial;font-family:arial;font-size:100%;" >
<br /></span> <p style="margin: 0cm 0cm 0.0001pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;">Can’t see many creators in that lot, can you? Can they really be giving the IPO a balanced view on intellectual property rights?
<br /></span></p><p style="margin: 0cm 0cm 0.0001pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="margin: 0cm 0cm 0.0001pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="margin: 0cm 0cm 0.0001pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;">Any way back to the ministers <a href="http://www.youtube.com/watch?v=Iq9BYkv3zis">speech</a>.</span></p><p style="margin: 0cm 0cm 0.0001pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;">
<br /></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><span class="description">Minister Lammy's keynote speech at SABIP's event on International Perspectives on Moral Rights (held 23rd March 2010), part 2 </span>
<br /></span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">It does make interesting watching and listening as according to the minister, we creators in the UK enjoy the inalienable moral right to be recognised as such!</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">1 min 18 secs into the video he says:</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoBodyTextIndent" ><span style="font-size:100%;">“Creators have the right to be recognised as the authors of their own work and that is an inalienable right even though it is sometimes complicated to apply…”
<br /></span></p><p style="font-family: arial;font-family:verdana;" class="MsoBodyTextIndent" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">I guess his info didn’t come from SABIP, but I suspect it does come from the IPO</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">As he also tells us he believes moral rights are just as important as economic rights, I have to again ask why our simple requests for Moral rights to be made up to what the Minister says they already are were not part of the Digital Economy Bill?
<br /></span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">Just to be absolutely clear, in the 1988 copyright act I note.</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">77 Right to be identified as author or director<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">(1) The author of a copyright literary, dramatic, musical or artistic work, and<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">the director of a copyright film, has the right to be identified as the author or<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">director of the work in the circumstances mentioned in this section; but the<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">right is not infringed unless it has been asserted in accordance with section<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">78.</span></span></p><p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><span lang="EN-US"><o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">78 Requirement that right be asserted<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">(1) A person does not infringe the right conferred by section 77 (right to be<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">identified as author or director) by doing any of the acts mentioned in that<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">section unless the right has been asserted in accordance with the following<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;"><span lang="EN-US">provisions so as to bind him in relation to that act.</span></span></p><p class="MsoNormal" style="margin-left: 36pt; font-family: arial;font-family:verdana;"><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">It does seem that Mr Lammy is not as knowledgeable about copyright was we are lead to believe.</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">Ok he is a minister and a very busy, and so I am certain that he doesn’t write his own speeches, indeed I believe I am right in saying that the Minister relies heavily on the IPO in such matters.<span style=""> </span>This is all well and good, but if the Minister is not being given the correct advice to start off which what value are his assurances that he will be looking after our needs – especially Moral rights.</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">The way I read this, and it is only my personal overview, I don't think David<span style=""> </span>Lammy truly understands any more about our needs than he did after taking the Gowers review in hand.</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> <o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">He clearly had little idea about what we did then – I recall being told by a witness that he had to be advised then that photographers had copyright too.<span style=""> </span>However, whether or not that is true Minister David Lammy has been a busy man in the last two years</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <span style="font-family: arial;font-family:arial;font-size:100%;" >
<br /></span> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">Very busy in Tottenham, very busy on black and fatherhood issues, very busy doing TV interviews, and very busy getting money to restore the huts used by Scott and Shackleton when they went to the Antarctic. Checking through his own website he doesn't seem that bothered by copyright or orphan works:</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> <o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">I found only four references to copyright on his <a href="http://www.davidlammy.co.uk/da/12244">website</a>.</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><a href="http://www.davidlammy.co.uk/David_Lammy_calls_for_panEuropean_approach_to_copy">
<br /></a></span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><a href="http://www.davidlammy.co.uk/David_Lammy_calls_for_panEuropean_approach_to_copy">David Lammy calls for pan-European approach to copyright protection</a> Oct 2009 </span><span style=";font-size:100%;" >from the Guardian</span><span style="font-size:100%;">.</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><a href="http://www.davidlammy.co.uk/New_Copyright_Guidelines">
<br /></a></span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><a href="http://www.davidlammy.co.uk/New_Copyright_Guidelines">New Copyright Guidelines</a> Oct 2009</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><a href="http://www.davidlammy.co.uk/internet_pirates_beware_this_man_is_out_to_stop_yo">'Internet Pirates this man is out to get you</a>' quoted in the Observer April 2009</span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span></p><span style=";font-family:arial;font-size:100%;" ><span style="font-family: arial;">and a reference in the</span><a style="font-family: arial;" href="http://www.davidlammy.co.uk/da/90522"> Washington Post</a><span style="font-family: arial;"> Nov 2008</span>
<br />
<br /></span><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> </span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">For "orphan works" I could only find a speech at the '<a href="http://www.davidlammy.co.uk/da/46929">10th Anniversary of the African HIV Policy Network</a>' which had nothing to do with copyright or orphan works. Other searches on Orphans got much the same, nothing on the legislation.<o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> <o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> </span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> <o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">I think it is fair to say that the Minister himself does little on Copyright or Orphan works, he has a bloody great big office and staff who do all that sort of thing, and what he says himself is only as good as the briefings he is given, and lets face it those briefings come largely from the Intellectual Property Office and if Tuesday’s speech is a guide, they do seem to be somewhat under par. Which is why he says inaccurate things.<o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> </span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">This is being led by the IPO and we have already established what their agenda is, because they have told us. And we simply do not register as individual creators.<o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> </span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoBodyText" ><span style="font-size:100%;"><span style="font-size:12pt;"><span style="font-size:100%;">I don't think for a moment David Lammy is a bad man, simply he is being told that what is in the bill sorts out the orphan works problem, and he believes the advice he is given. The big difficulty all the way through this is the problem that is called the '</span><span style="font-weight: bold;font-size:100%;" >Orphan Works Problem</span><span style="font-size:100%;">' by HMG, is <i>‘<span style="font-weight: bold;">How can works for which the creator is not blindingly obvious be safely commercial exploited’</span></i></span><span style="font-weight: bold;font-size:100%;" >.</span><o:p></o:p></span></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> </span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">The 'Orphan Works problem we (photographers) see and understand as creators, is <i>‘<span style="font-weight: bold;">How can we prevent individuals and organisations, commercial or otherwise from unwittingly or deliberately removing identifying information or otherwise publishing our work with out credits creating those orphan works in the first place’</span></i>.<o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> </span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoBodyText" ><span style="font-size:100%;"><span style="font-size:12pt;"><span style="font-size:100%;">We are singing different hymns, and frankly not even using the same hymn book. Lammy isn't even reading the hymn, as clearly he is having it whispered to him by third parties.</span><o:p></o:p></span></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"> </span></p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">
<br /></span><span style="font-size:100%;"><o:p></o:p></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">How anyone thinks we can put faith in Lammy doing anything without far more input from more reliable sources escapes me.
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<br /></span><span style="font-size:100%;"><span style="font-size:10pt;"><o:p></o:p></span></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><span style="font-size:10pt;"> </span><span style="font-size:10pt;"><o:p></o:p></span></span></p> <p style="font-family: arial;font-family:arial;" class="MsoNormal" ><span style="font-size:100%;"><span style="font-size:10pt;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></span></p> <p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;"><span style="font-size:10pt;"> </span></span><meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 9"><meta name="Originator" content="Microsoft Word 9"><link rel="File-List" href="file:///C:/Users/PETEJ%7E1/AppData/Local/Temp/msoclip1/01/clip_filelist.xml"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:donotoptimizeforbrowser/> </w:WordDocument> </xml><![endif]--><style> <!-- /* Font Definitions */ @font-face {font-family:Tahoma; panose-1:2 11 6 4 3 5 4 4 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-520078593 -1073717157 41 0 66047 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} a:link, span.MsoHyperlink {color:blue; text-decoration:underline; text-underline:single;} a:visited, span.MsoHyperlinkFollowed {color:purple; text-decoration:underline; text-underline:single;} @page Section1 {size:612.0pt 792.0pt; margin:72.0pt 90.0pt 72.0pt 90.0pt; mso-header-margin:36.0pt; mso-footer-margin:36.0pt; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style> </p><p style="font-family: arial;font-family:verdana;" class="MsoNormal" ><span style="font-size:100%;">Pete Jenkins
<br /><a href="http://www.petejenkins.co.uk/">www.petejenkins.co.uk</a>
<br /><a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a>
<br /><a href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a><a href="http://www.photographerspro.eu/pete_jenkins/"> </a>
<br /><o:p></o:p></span> </p> <p style="font-family: arial;" class="MsoNormal" face="arial"> </p> <p class="MsoNormal" style="font-family: arial;"><span style="font-size:100%;">Member of: <a href="http://www.nuj.org.uk/">The National Union of Journalists</a></span></p><span style="font-family: arial;font-family:arial;font-size:100%;" >
<br /></span><p style="font-family: arial;font-family:arial;" class="MsoNormal"><span style="font-size:100%;">Pete Jenkins asserts his right to be recognised as the author of his work and all his creators rights</span></p><p style="font-family: arial;font-family:arial;" class="MsoNormal"><span style="font-size:100%;">
<br /></span></p><p class="MsoNormal"><span style="font-family: arial;font-family:arial;font-size:100%;" > (C) 2010 Pete Jenkins</span>
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p></p> <p class="MsoNormal"><!--[if !supportEmptyParas]--><span style="font-size:100%;"> </span><!--[endif]--><o:p></o:p></p> Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-43123856054374605922010-03-02T10:56:00.004+00:002010-03-02T11:24:12.300+00:00Orphan Works Countdown<span style="font-family:trebuchet ms;">It has been a while since I wrote in this blog. Things have been very busy one way or another.<br /><br /></span><br /><br /><span style="font-family:trebuchet ms;">The Orphan Works debate has been increasing in intensity, especially now as it seems to be all coming to a head with the current <a href="http://services.parliament.uk/bills/2009-10/digitaleconomy.html"><span style="color: rgb(51, 102, 255);">Digital Economy bill</span> </a>about to clear the House of Lords and be rushed through the House of Commons. Current thoughts are that the Labour administration want to rush this through before the election, which is coming ever closer.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">Many photographers have been working very hard behind the scenes lobbying MPs and Lords, meeting up with the great and the good, and there is much to report. The <a style="color: rgb(51, 102, 255);" href="http://www.epuk.org/">EPUK </a>(Editorial Photographers UK) organisation (amongst others) and its members have worked particularly hard, and some individuals have done a phenomenal amount of work.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">One of the best places to look at to keep up with what is going on is <a style="color: rgb(51, 102, 255);" href="http://copyrightaction.com/">Copyright Action</a> administered, organised and written by that most knowledgeable and hard working of photographers <a style="color: rgb(51, 102, 255);" href="http://tonysleep.co.uk/">Tony Sleep</a>.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">For my own part, my exchanges with the IPO continue. Very frustrating as now-a-days, instead of answering questions, the last response I got was a very dissapointing<br /><br /><br /><br />“I'm afraid I don't have time to pen you a full reply at the moment,..”<br /><br /><br />and<br /><br /><br />“have a look at this webpage”<br /><br /><br /><br />"</span><a style="color: rgb(51, 102, 255);" href="http://www.ipo.gov.uk/pro-types/pro-copy/c-policy/c-policy-orphanworks/c-policy-orphanworks-photo.htm">The Digital Economy Bill: What it means for photographers</a>"<span style="font-family:trebuchet ms;"><br /></span><br /><br /><br /><br /><br /><span style="font-family:trebuchet ms;">This was my response:</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;"></span><blockquote><div style="text-align: justify;"><span style="font-family:trebuchet ms;">Thank you for this link.</span><br /><br /><br /><span style="font-family:trebuchet ms;">Have you read it? It does seem to be really way off the mark, and if this </span><span style="font-family:trebuchet ms;">is how the IPO is going to enlighten photographers I am afraid you guys are </span><span style="font-family:trebuchet ms;">seemingly way behind the real situation and need to catch up.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">I am disappointed that you don't have time to pen a full response as this </span><span style="font-family:trebuchet ms;">subject is getting a huge amount of discussion at the moment and </span><span style="font-family:trebuchet ms;">photographers are very concerned at the way the legislation is forming. As </span><span style="font-family:trebuchet ms;">I have the ear of maybe thousands of photographers I would urge you to take </span><span style="font-family:trebuchet ms;">the time.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">I raised a number of important points and not one of them is answered </span><span style="font-family:trebuchet ms;">sensibly or in anyway satisfactorily by the </span><span style="font-family:trebuchet ms;">"</span><a style="color: rgb(51, 102, 255);" href="http://www.ipo.gov.uk/pro-types/pro-copy/c-policy/c-policy-orphanworks/c-policy-orphanworks-photo.htm">The Digital Economy Bill: What it means for photographers</a>"<span style="font-family:trebuchet ms;"> piece.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">The legislation was sold to us, (and by you to me), on the basis that </span><span style="font-family:trebuchet ms;">libraries and academic institutions needed access to already published work </span><span style="font-family:trebuchet ms;">for cataloguing in digital databases. This bill goes way beyond that, and </span><span style="font-family:trebuchet ms;">specifically makes provision for commercial organisations to commercially </span><span style="font-family:trebuchet ms;">use orphan works. The two are not the same and to try and say they are is </span><span style="font-family:trebuchet ms;">disingenuous at the very least. Many photographers have come to the </span><span style="font-family:trebuchet ms;">conclusion that they are being deliberately misled. From what you have </span><span style="font-family:trebuchet ms;">told me so far how can I counter this thought?</span><br /><br /><br /><br /><span style="font-size:78%;">From the document.</span><br /><br /><span style="font-style: italic; font-weight: bold;font-family:trebuchet ms;" >"The Government’s intention is that there should be no financial advantage </span><span style="font-style: italic; font-weight: bold;font-family:trebuchet ms;" >from miss-identifying a work as an orphan work".</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">From this statement alone it is clear that the Government and therefore the </span><span style="font-family:trebuchet ms;">IPO are missing the point entirely. Of course, as photographers we don't </span><span style="font-family:trebuchet ms;">want to lose out financially, but more to the point we do not want to lose </span><span style="font-family:trebuchet ms;">control of our work - period. I cannot stop my work becoming orphaned - it </span><span style="font-family:trebuchet ms;">happens all the time, every time a newspaper publishes my work for starters, </span><span style="font-family:trebuchet ms;">and many magazines also don't credit. My work has a value, as much as </span><span style="font-family:trebuchet ms;">anything else because I have control of it and its distribution. If I lose </span><span style="font-family:trebuchet ms;">this control and a third party can sell rights to its use without my </span><span style="font-family:trebuchet ms;">specific agreement, then my control is gone and the value of my work is </span><span style="font-family:trebuchet ms;">reduced. There is also no set ‘market rate’ - that is purely an invention of </span><span style="font-family:trebuchet ms;">publishers. Different photographers, especially experienced ones negotiate </span><span style="font-family:trebuchet ms;">appropriate rates, usually way above those rates that publishers claim are </span><span style="font-family:trebuchet ms;">'the going rate'.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">Orphan legislation as has been laid out is ‘back to front’. The legislation's </span><span style="font-family:trebuchet ms;">sole purpose is to allow orphan works to be freely used. What creators want </span><span style="font-family:trebuchet ms;">is the means by which works can be prevented from being orphaned in the </span><span style="font-family:trebuchet ms;">first place. All libraries and academia need is a concise exception. What </span><span style="font-family:trebuchet ms;">creators need is the right to be recognised as the authors of their work all </span><span style="font-family:trebuchet ms;">the time - no exceptions. If we get the credit then the orphan situation </span><span style="font-family:trebuchet ms;">diminishes hugely. And words are not enough. We need the teeth with which </span><span style="font-family:trebuchet ms;">to bite those that refuse credits.</span><br /><br /><br /><br /><span style="font-size:78%;">From the document.</span><br /><br /><span style="font-weight: bold;font-family:trebuchet ms;" >"A diligent search will in most cases still allow the original rights holder </span><span style="font-weight: bold;font-family:trebuchet ms;" >to be identified through the searching of databases, advertisement of the </span><span style="font-weight: bold;font-family:trebuchet ms;" >intention to use, use of electronic messaging (in the case of sites such as </span><span style="font-weight: bold;font-family:trebuchet ms;" >Flickr for example) and other steps"</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">There is no way of making a diligent search, there are no databases... Cart </span><br /><span style="font-family:trebuchet ms;">before the horse again.</span><br /><br /><br /><br /><span style="font-size:78%;">From the document.</span><br /><br /><span style="font-weight: bold;font-family:trebuchet ms;" >"We are aware that some creators would like a change in the way moral rights </span><span style="font-weight: bold;font-family:trebuchet ms;" >work, particularly with regard to the right to identified as author of a </span><span style="font-weight: bold;font-family:trebuchet ms;" >work. This is however a polarised debate: publishers and users of copyright </span><span style="font-weight: bold;font-family:trebuchet ms;" >works are concerned that any change would prevent them from carrying out </span><span style="font-weight: bold;font-family:trebuchet ms;" >legitimate editing activities and add unacceptable overheads to established </span><span style="font-weight: bold;font-family:trebuchet ms;" >business practices."</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">This is absolute nonsense. How does giving a photographer a credit affect </span><span style="font-family:trebuchet ms;">activities or acceptable (some established practices are from acceptable) </span><span style="font-family:trebuchet ms;">business practices?</span><br /><br /><br /><span style="font-size:78%;">From the document.</span><br /><br /><span style="font-weight: bold;font-family:trebuchet ms;" >"If the Digital Economy Bill becomes law, then the government has committed </span><span style="font-weight: bold;font-family:trebuchet ms;" >to a broad consultation before legal rules for orphan works schemes are </span><span style="font-weight: bold;font-family:trebuchet ms;" >developed. At this time (planned to be the second half of 2010) we would </span><span style="font-weight: bold;font-family:trebuchet ms;" >like to hear from creators and copyright owners of all types, as to what </span><span style="font-weight: bold;font-family:trebuchet ms;" >they believe the issues are for them. The consultation process will be </span><span style="font-weight: bold;font-family:trebuchet ms;" >widely publicised, and you will be able to contribute your views at that </span><span style="font-weight: bold;font-family:trebuchet ms;" >time."</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">Legitimate concerns could be dealt with now. Making the law first and </span><span style="font-family:trebuchet ms;">asking us after does not seem to be a sensible way about dealing with such </span><span style="font-family:trebuchet ms;">an important issue, as by this time we are merely adjusting legislation </span><span style="font-family:trebuchet ms;">rather than stopping wholesale mismanagement from happening.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">Perhaps one should consider why the US has backed down from such legislation </span><span style="font-family:trebuchet ms;">before going further?</span><br /></div><br /><br /><br /></blockquote><br /><br /><br /><br /><span style="font-family:trebuchet ms;">I don't feel that I am getting much further by talking to the IPO, but I am hoping that I can still make a little ground, someone out there might still be listening. The IPO sincerely believe that any problems will be dealt with in the autumn. If I were being overly generous I would say that the IPO are simply closing their eyes and ears to reasoned </span>debate.<br /><br /><br /><br /><span style="font-family:trebuchet ms;">the truth seems to be, and the IPO tell us this in their discussion of moral rights, is clear that they are simply doing what the BBC, Publishers and the British Library, have asked them to do. The BBC and Publishers have no interest in authors rights, as acknowledging that we have any at all messes up their exploitation of our creations. It is in the interest of Publishers to open up the world of crowd sourcing, microstock, and personal publishing. Orphan Works licensing is a positive gift to such exploitation.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">Professional creators are of no interest or importance in this new model of trading and licensing. As we are all too aware, most publishers business models when it comes to the web, deeply flawed as they are, continue to involve free publishing on the web, with therefore very low margins. To achieve this publishers (including the BBC) want free or nearly free content. It would appear that <a style="color: rgb(51, 102, 255);" href="http://www.telegraph.co.uk/news/newstopics/politics/labour/3127802/Peter-Mandelson-profile-The-Prince-of-Darkness-returns.html">Lord Mandelson, 'Prince of Darkness'</a> is giving his masters everything that they want.</span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">I note that the the IPO term the Moral rights debate as a polarised one. As a photographer I know exactly what that means. It means that the debate has been turned to one direction only and anything that is out of line is simply removed. No-one in the IPO or government is interested in what we as creators think, only in removing us as a threat in this Brave New Digital World'. It stinks!</span><br /><br /><br /><br /><br /><span style="font-family:trebuchet ms;"></span><br /><br /><br /><br /><span style="font-family:trebuchet ms;">Pete Jenkins</span><br /><a style="color: rgb(51, 102, 255);" href="http://www.petejenkins.co.uk/"><span style="font-family:trebuchet ms;">www.petejenkins.co.uk </span></a><br /><a style="color: rgb(51, 102, 255);" href="http://www.onlinepictureproof.com/petejenkins"><span style="font-family:trebuchet ms;">www.onlinepictureproof.com/petejenkins</span></a><br /><a style="color: rgb(51, 102, 255);" href="http://www.photographerspro.eu/pete_jenkins/"><span style="font-family:trebuchet ms;">www.photographerspro.eu/pete_jenkins/ </span></a><br /><span style="font-family:trebuchet ms;"></span><br /><br /><span style="font-family:trebuchet ms;">Member of: The <a style="color: rgb(51, 102, 255);" href="http://www.nuj.org.uk/">National Union of Journalists</a></span><br /><br /><br />Polarise (from<span style="color: rgb(51, 102, 255);"> </span><a style="color: rgb(51, 102, 255);" href="http://www.thefreedictionary.com/polarising">free dictionary</a>)<br /><br /><table id="wn"><tbody><tr><td valign="top"><b>Verb</b></td><td valign="top"><b>1.</b></td><td><b>polarize</b> - cause to vibrate in a definite pattern; "polarize light waves"<div class="Syn"><a href="http://www.thefreedictionary.com/polarise">polarise</a></div><div class="Rel"><a href="http://www.thefreedictionary.com/natural+philosophy">natural philosophy</a>, <a href="http://www.thefreedictionary.com/physics">physics</a> - the science of matter and energy and their interactions; "his favorite subject was physics"</div><div class="Rel"><a href="http://www.thefreedictionary.com/alter">alter</a>, <a href="http://www.thefreedictionary.com/change">change</a>, <a href="http://www.thefreedictionary.com/modify">modify</a> - cause to change; make different; cause a transformation; "The advent of the automobile may have altered the growth pattern of the city"; "The discussion has changed my thinking about the issue"</div></td></tr><tr><td valign="top"><br /></td><td valign="top"><b>2.</b></td><td><b>polarize</b> - cause to concentrate about two conflicting or contrasting positions<div class="Syn"><a href="http://www.thefreedictionary.com/polarise">polarise</a></div><div class="Rel"><a href="http://www.thefreedictionary.com/disunite">disunite</a>, <a href="http://www.thefreedictionary.com/separate">separate</a>, <a href="http://www.thefreedictionary.com/part">part</a>, <a href="http://www.thefreedictionary.com/divide">divide</a> - force, take, or pull apart; "He separated the fighting children"; "Moses parted the Red Sea"</div></td></tr><tr><td valign="top"><br /></td><td valign="top"><b>3.</b></td><td><b>polarize</b> - become polarized in a conflict or contrasting situation<div class="Syn"><a href="http://www.thefreedictionary.com/polarise">polarise</a></div><div class="Rel"><a href="http://www.thefreedictionary.com/divide">divide</a>, <a href="http://www.thefreedictionary.com/part">part</a>, <a href="http://www.thefreedictionary.com/separate">separate</a> - come apart; "The two pieces that we had glued separated"</div></td></tr></tbody></table>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-7882363306231630192009-12-16T21:48:00.006+00:002009-12-16T23:10:00.930+00:00Police release film of suspects' 'terror targets'<a href="http://news.bbc.co.uk/1/hi/uk/8414254.stm">Police release film of suspects' 'terror targets'</a> <br /><br />I have been keeping out of the debate on Police stopping photographers under the <a href="http://www.homeoffice.gov.uk/about-us/publications/home-office-circulars/circulars-2009/012-2009/">Terrorism act section 43 and 44</a> partly because there are already others out there doing a great job, and to be honest, here in sleepy Nottingham it isn’t actually a major problem, as most of the police around the East Midlands seem to have other things on their mind.<br /><br />However, having said that, I have just been reading some of the reporting on the ‘so-called’ hostile reconnaissance video, supposedly taken by an Algerian ‘terror’ suspect.<br /><br /><br />If the <a href="http://news.bbc.co.uk/1/hi/uk/8414254.stm">BBC reporting</a> is to be trusted, and similar reports were made in the <a href="http://www.bjp-online.com/public/showPage.html?page=872051 ">British Journal of Photography</a>, although one has to note that the initial report by the BJP has been heavily cleaned up of any quotes from police officers, some of which were outrageous, then the police have a pretty strange use of logic! <br /><br />The original report by the BJP prompted me to write to the editor Simon Bainbridge the following missive:<br /><br /><span style="font-style:italic;">Dear Sir,<br /> <br />"The City of London Police released video footage taken using a camera phone by an Algerian man in 'hostile reconnaissance' to justify stopping photographers"<br /> <br />What an illuminating statement from the City of London Police reported by BJP today (15th December). <br /> <br />By what logic exactly does the fact that:<br /> <br />"his camera phone had more than 90 minutes of video footage of tube stations, CCTV cameras and sensitive locations around London."<br /> <br />Justify the topping of photographers? Presumably as this arrested person was using a camera-phone when he was doing all this 'filming', the justification is not for stopping photographers at all, but for stopping people using camera-phones? That would include perhaps 25% of the adult population?<br /> <br />If the inference is that this person was conducting covert surveillance, then he did it using an innocent looking camera-phone such as many normal, average members of the public use on a regular basis throughout the day. Using this same logic surely it is very unlikely that Professional (or amateur) photographers carrying thousands of pounds worth of expensive and very obvious Japanese neck jewelry, and staying in one place long enough to be spotted, stopped and questioned by police should be the target of any terrorist stop and search.<br /> <br />Indeed by the very logic of Superintendent Chris Greany of the City of London Police, the police should instead be pouncing on anyone daring to use a camera phone.<br /> <br />Just how stupid do our police want us to think they are?<br /> <br /> <br />Kind regards<br /> <br /> <br /> <br />Pete Jenkins<br /></span><br /><br /><a href="http://news.sky.com/skynews/Home/UK-News/City-Of-London-Police-Catch-Suspected-Terror-Group-Filming-Potential-Targets/Article/200912315500789?lpos=UK_News_Carousel_Region_2&lid=ARTICLE_15500789_City_Of_London_Police_Catch_Suspected_Terror_Group_Filming_Potential_Targets ">Sky News</a> have the same basic line as the BBC <br /><br /><br />If this is the best the police can do to justify harassing ordinary amateur and professional photographers then frankly it looks pathetic. Hostile reconnaissance? Really? If this was a terrorist cell in action and the proof we are told was there then why was the full weight iof the law brought down upon these people?<br /><br />We are told according to the BBC:<br /><br />“The police said the CPS had decided there was sufficient evidence to bring terrorism charges, but it was not in the public interest because they would have received the same sentence as for fraud.”<br /><br />Not in the public interest? <br /><br />And there’s more:<br /><br />“Police believe the men may have been a fundraising and research arm of an al Qaeda-linked group in North Africa.”<br /><br />Yet despite this:<br /><br />“Two men were subsequently convicted of a huge mobile phone and luxury goods fraud scam and deported after serving prison sentences.”<br /><br />Not convicted for anything to do with terrorism then? So in fact they have not been found guilty of anything to do with terrorism, so the whole terrorism angle is simply supposition by the police (so we are told)?<br /><br />And what makes all this worse; this awful stream of images and the subsequent inferences are being used to justify, not as one would expect, the stopping and checking of people using mobile phones as video cameras conducting, (so we are told), hostile reconnasince, but instead as the most feeble justification yet for stopping ordinary professional and amateur photographers and videographers out on the street, hiding nothing.<br /><br />It is a complete joke. The police simply have to get a grip. How can we seriously can we take our forces of Law and Order when they seem to continually hassle people simply for taking photographs?<br /><br />Pete Jenkins<br /><a href="http://www.petejenkins.co.uk ">www.petejenkins.co.uk </a><br /><a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br /><a href="http://www.photographerspro.eu/pete_jenkins/ ">www.photographerspro.eu/pete_jenkins/ </a> <br /><br />Member of: <a href="http://www.nuj.org.uk/">The National Union of Journalists</a>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-67126901524513538112009-11-19T23:46:00.009+00:002009-11-20T00:44:26.075+00:00© the way ahead: A Copyright Strategy for the Digital Age II<meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 9"><meta name="Originator" content="Microsoft Word 9"><link rel="File-List" href="file:///C:/Users/PETEJ%7E1/AppData/Local/Temp/msoclip1/01/clip_filelist.xml"><link rel="Edit-Time-Data" href="file:///C:/Users/PETEJ%7E1/AppData/Local/Temp/msoclip1/01/clip_editdata.mso"><!--[if !mso]> <style> v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style> <![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:donotoptimizeforbrowser/> </w:WordDocument> </xml><![endif]--><style> <!-- /* Font Definitions */ @font-face {font-family:Wingdings; 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<br /> <p class="MsoNormal"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US">Part 2 of an analysis </span><span style="font-weight: bold;font-size:130%;" lang="EN-US">Looking at the main part of the document</span></p> <span style="font-size:100%;">
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<br /></span><p class="MsoNormal"><span lang="EN-US" style="font-size:100%;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span><span lang="EN-US"><span style=";font-family:arial;font-size:100%;" >Page 10 <span style="font-weight: bold;">What is Copyright </span></span>
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<br /><p class="MsoNormal" style="margin-left: 36pt;"><i><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyTextIndent"><span lang="EN-US">“only the owner of a work can allow or prohibit the copying of their work, the performance of their work in public or the communication of their wo</span><span lang="EN-US">rk to the public.<span style=""> </span>The author of the work, as defined by the Copyright, Designs and Patents Act 1988 (CDPA), is the first owner except in certain specific circumstances. The author can assign or license their rights.”</span></p><p class="MsoBodyTextIndent"><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><i><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoNormal" style=""><span lang="EN-US" style="font-family:Tahoma;">‘Orphan works’ legislation as so far defined is nothing more than an orchestrated attempt to introduce exceptions into the 1988 Copyright Act.<span style=""> </span>This dilutes the strength of the act, and it is difficult to see how this can be to the benefit of creators, as it is currently described.</span></p><p class="MsoNormal" style="">
<br /><span lang="EN-US" style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span lang="EN-US" style="font-family:Tahoma;">The Government supports copyright – and I am pleased to hear it.<span style=""> </span><a style="color: rgb(51, 51, 255);" href="http://www.ipo.gov.uk/press-release-20091028.htm">David Mandelson's speech</a> where this document was introduced, although disconcertingly much of the concern is based only on music and peer-to-peer file sharing.<span style=""> </span>Reading Mr. Mandelson’s speech one would think that copyright only affect musicians!<span style=""> </span>One must appreciate that in t</span><span lang="EN-US" style="font-family:Tahoma;">his context there is little difference between consumers sharing music downloads, and sharing images.<span style=""> </span>Both are subject to copyright and both have creators.<span style=""> </span>It would be clearly innapropriate for the government to suggest severely controlling the sharing of music files and then advocate a copyright exception for photographs at the same time.</span></p><p class="MsoNormal" style="">
<br /><span lang="EN-US" style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" lang="EN-US">Page 17 <b>How was this Copyright Strategy developed?</b></span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" lang="EN-US"><b><o:p></o:p></b></span></p> <p class="MsoNormal" style=""><b><span style=";font-family:Arial;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></b></p> <p class="MsoBodyTextIndent"><span lang="EN-US">People want access to many copyright works, some of which are currently hard to </span><span style="font-style: italic;" lang="EN-US">access</span><span style="font-style: normal;font-family:Arial;font-size:10pt;" lang="EN-US">.</span></p><p class="MsoBodyTextIndent"><span style="font-style: normal;font-family:Arial;font-size:10pt;" lang="EN-US">
<br /></span></p> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">Is this actually true?<span style=""> </span>People?<span style=""> </span>Who are people and what examples can we be given of this difficult access?<span style=""> </span>Examples please – I can’t think of any.</span></p><p class="MsoNormal">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <h4><span lang="EN-US">
<br /></span></h4> <p class="MsoBodyTextIndent"><span lang="EN-US">However, systems for licensing are complex, time consuming to access and incomplete (they do not exist for all rights or types of works).</span></p><p class="MsoBodyTextIndent"><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><span style="" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span lang="EN-US" style="font-family:Tahoma;">Complex?<span style=""> </span>In what way exactly?<span style=""> </span>I haven’t experienced any difficulty in clients accessing my work, or negotiating licenses, other than on occasion the client and myself might have a difference of opinion as to what constitutes a fair fee for a specific use.<span style=""> </span>But an argument about price does not a complex difficulty make.</span></p><p class="MsoNormal" style=""><span lang="EN-US" style="font-family:Tahoma;">
<br /></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 36pt;"><b><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Making copyright licensing simpler for everyone.<o:p></o:p></span></i></b></p> <p class="MsoNormal" style="margin-left: 36pt;"><b><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></b></p> <p class="MsoBodyTextIndent"><span lang="EN-US">Copyright is automatic and many works (such as photographs) do not incorporate details of their creator or rights holder.<span style=""> </span>As a result, it is hard to get permission to use works.</span></p><p class="MsoBodyTextIndent"><span lang="EN-US">
<br /></span></p> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">Whilst it is true that many photographic works are published without the creator's details, this is largely because of the 1988 Copyright Act itself.<span style=""> </span>Professional cr</span><span style="font-family:Tahoma;">eators of photographic imagery are generally very careful to mark their work, and complete the IPTC data, which are the digital information fields held within the file itself.<span style=""> </span>But it does not matter how careful the creator is if the publisher does not include the creators name.<span style=""> </span>Under the 1988 Copyright Act, not only was it decided that the Creator had to assert his or her moral rights, when it came to both magazines and newspapers, both publishing fields were given moral rights exceptions, and neither are obliged to give credits, so consequently most don’t.</span></p><p class="MsoNormal">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style="text-align: center;" align="center"><span style="font-family:Tahoma;"><!--[if gte vml 1]><v:shapetype id="_x0000_t75" coordsize="21600,21600" spt="75" preferrelative="t" path="m@4@5l@4@11@9@11@9@5xe" filled="f" stroked="f"> <v:stroke joinstyle="miter"> <v:formulas> <v:f eqn="if lineDrawn pixelLineWidth 0"> <v:f eqn="sum @0 1 0"> <v:f eqn="sum 0 0 @1"> <v:f eqn="prod @2 1 2"> <v:f eqn="prod @3 21600 pixelWidth"> <v:f eqn="prod @3 21600 pixelHeight"> <v:f eqn="sum @0 0 1"> <v:f eqn="prod @6 1 2"> <v:f eqn="prod @7 21600 pixelWidth"> <v:f eqn="sum @8 21600 0"> <v:f eqn="prod @7 21600 pixelHeight"> <v:f eqn="sum @10 21600 0"> </v:formulas> <v:path extrusionok="f" gradientshapeok="t" connecttype="rect"> <o:lock ext="edit" aspectratio="t"> </v:shapetype><v:shape id="_x0000_i1025" type="#_x0000_t75" style="'width:351pt;"> <v:imagedata src="file:///C:/Users/PETEJ~1/AppData/Local/Temp/msoclip1/01/clip_image001.jpg" title="03_IPTC_contact"> </v:shape><![endif]--><!--[if !vml]--></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">That moral rights have to be asserted is a pain, and many creators are simply unaware that this is the case.<span style=""> </span>In addition with the World Wide Web today, there are many other issues that cause creators grief when it comes to moral rights.<span style=""> </span>Many photo hosting sites, and by this I mean mainly the consumer social file sharing utilities such as Facebook, F</span><span style="font-family:Tahoma;">lickr, and MySpace all remove IPTC data, as a matter of course in order to make smaller files.<span style=""> </span>There is no choice in this.</span></p><p class="MsoNormal"><span style="font-family:Tahoma;">
<br /></span></p><p class="MsoNormal"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2of3k8HfNDJmqULPw2YE7c8rJAUEUKuTemkk0wcT5v97iZksu9Hq3IiOUganDh7Q8wNewOQFsQ0GGdbEH_54DHoe-7Ez7lDM9i977g2GZaIhE-AgI5JRwERxoIfHsDrZV7KGPZdF_msU/s1600/03_IPTC_contact.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 309px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2of3k8HfNDJmqULPw2YE7c8rJAUEUKuTemkk0wcT5v97iZksu9Hq3IiOUganDh7Q8wNewOQFsQ0GGdbEH_54DHoe-7Ez7lDM9i977g2GZaIhE-AgI5JRwERxoIfHsDrZV7KGPZdF_msU/s400/03_IPTC_contact.jpg" alt="" id="BLOGGER_PHOTO_ID_5405966652267921938" border="0" /></a></p><p class="MsoNormal">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">This is not the only problem.<span style=""> </span>Many publishing and other software routinely strips IPTC data from digital files.</span></p><p class="MsoNormal">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">Consumer and user education and legal enforcement of the creators moral rights would surely be the appropriate answer to this, backed up by an easy to use low cost appropriate legal access for the creator, rather than just giving the right to publish away.</span></p><p class="MsoNormal">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent2"><b><span style="color: rgb(0, 0, 0);">Reducing copyright infringement.</span></b><span lang="EN-US"><span style=""> </span>To achieve a system in which rights are widely respected, the</span><span style=""> behaviour</span><span lang="EN-US"> of users and consumers must change.<span style=""> </span>Enforcement is part of the answer, but so is the offer of attractive legitimate services by business.”</span></p><p class="MsoBodyTextIndent2"><span lang="EN-US">
<br /></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">Absolutely, the behaviour of users and consumers must change, and the start of this must be education.<span style=""> </span>As all members of society are now potential creators, even if it is only on social networking sites, it is essential that they learn to respect their own as well as other peoples copyright.<span style=""> </span>Without question this must be backed up by enforcement.<o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">No manner of attractive services for a ‘price’ will eliminate theft, whilst the general public assume that copyright either does not exist on the web, or for whatever reason does not apply to them.</span></p><p class="MsoNormal">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">We need to see more discussion about education of the consumer.</span></p><p class="MsoNormal">
<br /></p><p class="MsoNormal">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal"><span style="font-family:Tahoma;">Page 20<o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 18pt;"><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--></span><i><span style=";font-family:Tahoma;color:black;" >
<br /></span></i></p><p class="MsoNormal" style="margin-left: 18pt;"><i><span style=";font-family:Tahoma;color:black;" >Rights Holders<span style=""> </span><o:p></o:p></span></i></p>
<br /><ul><blockquote><li><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Focus on enforcement should be retained as the solution to piracy<o:p></o:p></span></i></li><li><!--[if !supportLists]--><span style=";font-family:Symbol;color:black;" lang="EN-US">·<span style=";font-family:";font-size:7pt;" > </span></span><!--[endif]--><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Education is necessary to improve respect for copyright<o:p></o:p></span></i></li><li><!--[if !supportLists]--><span style=";font-family:Symbol;color:black;" >·<span style=";font-family:";font-size:7pt;" > </span></span><!--[endif]--><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">No new exc</span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">eptions to copyright</span></i></li></blockquote></ul> <p class="MsoNormal" style="margin-left: 54pt; text-indent: -18pt;">
<br /><i><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 18pt;"><i><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 18pt;"><i><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <h5><span style="color:black;">Authors<o:p></o:p></span></h5> <p class="MsoNormal" style="margin-left: 54pt; text-indent: -18pt;"><!--[if !supportLists]--><span style=";font-family:Symbol;color:black;" lang="EN-US">·</span></p><blockquote><ul><li><span style=";font-family:Symbol;color:black;" lang="EN-US"></span><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Authors need to be given more control over their work through the terms of assignment or license in contracts with rights holders</span></i></li></ul>
<br /><ul><li><!--[if !supportLists]--><span style=";font-family:Symbol;color:black;" lang="EN-US">·</span><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Greater financial and legal support is needed to address copyright infringement</span></i></li></ul>
<br /><ul><li><!--[if !supportLists]--><span style="font-family:Symbol;">·</span><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Streng</span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">then the moral rights of authors</span></i><span style="font-family:Tahoma;"><o:p></o:p></span></li></ul></blockquote> <p class="MsoNormal"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoNormal"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText"><span lang="EN-US">Photographers all over the country will be punching the air at these statements.<span style=""> </span>At last someone is listening</span></p><p class="MsoBodyText">
<br /></p><p class="MsoBodyText"><span lang="EN-US">
<br /></span><span lang="EN-US" style="font-family:Wingdings;"><span style=""></span></span></p> <p class="MsoNormal"><i><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoNormal"><i><span style="font-family:Tahoma;">Users and Consumers</span></i></p><p class="MsoNormal">
<br /><i><span style="font-family:Tahoma;"><o:p></o:p></span></i></p> <p class="MsoBodyTextIndent3" style="margin-left: 72pt; text-indent: -18pt;"><!--[if !supportLists]--><span lang="EN-US" style="font-family:Symbol;"><span style="font-style: italic;"></span></span><i><span lang="EN-US"></span></i></p><blockquote><ul><li><i><span lang="EN-US">Treat different types of users differently with private use such as format shifting being allowed</span></i></li></ul>
<br /><ul><li><!--[if !supportLists]--><span style=";font-family:Symbol;color:black;" lang="EN-US">·</span><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">No extension to the duration of copyright<o:p></o:p></span></i></li></ul>
<br /><ul><li><!--[if !supportLists]--><span style="font-family:Symbol;">·</span><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Rights holders can afford infringement as they are often exploiting those who create works.</span></i></li><li><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">
<br /></span></i></li></ul></blockquote><p class="MsoNormal" style="margin-left: 72pt; text-indent: -18pt;"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"></span></i><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;">This last point is one that is worth noting.<span style=""> </span>Many consumers would be horrified if they thought they were stealing from low earning creators, yet many do, because they simply do not connect creators with published works.<span style=""> </span>Consumers seem to be of the general belief that all writers earn like Stephen King, all photographers like Ansell Adams etc.<span style=""> </span>Actually most creators are very low earners.<span style=""> </span>Again it would seem that education would help us here.</span></p><p class="MsoNormal" style="">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;">Page 23</span></p><p class="MsoNormal" style="">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent"><span lang="EN-US">C. The complexity of copyright derives from the historical accretion of rights, more complicated business models and the interactions of rights holders.</span></p><p class="MsoBodyTextIndent"><span lang="EN-US">
<br /></span></p> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span style="font-style: normal;" lang="EN-US">What complexity?<span style=""> </span>Yet again we are told that there is a problem without any indication of what that problem might be.<span style=""> </span>Examples please.<span style=""> </span>Photographers at least are not aware of any complexity in the licensing of imagery.</span></p><p class="MsoBodyTextIndent" style="margin-left: 0cm;">
<br /><span style="font-style: normal;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span style="font-style: normal;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span style="font-style: normal;">So far every example I have seen of the desire to ‘simplify’ copyright has been a blatant attempt to make use either free or cheaper, at the direct cost to the creator.<span style=""> </span>The latest desire to simplify in this way is the <a style="color: rgb(51, 51, 255);" href="http://www.pressgazette.co.uk/story.asp?sectioncode=1&storycode=44079&c=1">Guardian News Media</a> who told photographers that from the 1<sup>st</sup> September they would be simplifying their contract with engaged photographers by simply not paying secondary rights fees.<span style="font-style: italic;">
<br /></span></span></p><p class="MsoBodyTextIndent" style="margin-left: 0cm;">
<br /><span style="font-style: normal;"><span style="font-style: italic;"></span></span></p><span lang="EN-US"><a href="http://www.pressgazette.co.uk/story.asp?sectioncode=1&storycode=44079&c=1"></a></span><span style="font-style: normal;" lang="EN-US"><o:p></o:p></span> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span style="font-style: normal;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent" style="margin-left: 0cm;"><span style="font-style: normal;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;">P25 <b>Copyright Exception</b></span></p><p class="MsoNormal" style="">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent"><span lang="EN-US">The European Commission’s 2008 Green Paper a Copyright in the Knowledge Economy considers the exceptions outlined in the Information Society Directive and their impact on the dissemination of research, science, and educational materials.<span style=""> </span>In particular, it considers whether there should be any changes to the existing exceptions for the benefit of libraries and archives and for teaching and research purposes to facilitate wider dissemination.</span></p><p class="MsoBodyTextIndent"><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;">There would appear to be few arguments that could be made against allowing Public Institutions such as libraries and universities the right to collate and store data including created works.<span style=""> </span>However, this should not confer the right to exploitation of that data.<span style=""> </span>Nor should it become an opportunity to for commercial institutions to make further gains or otherwise without creators permission.</span></p><p class="MsoNormal" style="">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;">Page 26</span><i><span style="font-family:Tahoma;"> </span></i><b><span lang="EN-US" style="font-family:Tahoma;">Economic Rights and Contract</span></b></p><p class="MsoNormal" style="">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span lang="EN-US" style="font-family:Tahoma;">37. Authors generally assign or license their economic rights to a business, such as a freelance journalist to a newspaper.<span style=""> </span>The economic aspect of the business relationship between the author and the rights holder is usually covered by contract.<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyTextIndent"><span lang="EN-US">38. Assignment of rights means the author has no ability to</span><span style=""> authorise</span><span lang="EN-US"> non-commercial or charitable uses or to take back control if a work becomes unavailable (e.g. out of print or not available to download).<span style=""> </span>Licensing works can give the author more freedom to do these things, but authors in many sectors say it is much less common practice than assignment.</span></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyTextIndent"><span lang="EN-US">39. Our consultation indicated that many authors felt the balance of power with publishers was not in their favour and that they gave too much control of their work to others.<span style=""> </span>This was a particular issue for photographers, freelance journalists and writers, musicians and also for SMEs from many sectors that actively sought to be author-friendly.</span></p><p class="MsoBodyTextIndent"><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;">What appears to be a general recognition of creators problems, especially those of freelance Photojournalists is very encouraging.<span style=""> </span>Please let us see some action to back up these sentiments and support creators.</span></p><p class="MsoNormal" style="">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;">Page 27 <b>Moral rights and contracts</b></span></p><p class="MsoNormal" style="">
<br /><span style="font-family:Tahoma;"><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">40. Moral rights</span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"> </span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">were also seen as an issue causing difficulty and complexity in the relationship between the rights holder and the author, as well as between the author and the consumer and business.<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">41. Moral rights can be covered by contract and they can be waived by written agreement.</span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><span style=""> </span></span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">This can be problematic for authors.<span style=""> </span>For example, The Featured Artists Coalition (FAC) has objected to the use of music by FAC artists in a compilation CD by a political party.<span style=""> </span>Following the release of this compilation the artists complained of ‘… the inability to object to the use of music in situations that are contrary to their beliefs and morals’</span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">42. In discussions with stakeholders, many less high profile authors were concerned about the issue of moral rights.<span style=""> </span>In particular, that these moral rights can be waived and that the right of attribution requires assertion.<span style=""> </span>This was deemed to indicate that the moral rights system in the UK needed strengthening and was fundamentally misaligned with moral rights in continental Europe.</span></i></p><p class="MsoNormal" style="margin-left: 36pt;">
<br /><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><o:p></o:p></span></i></p> <p class="MsoNormal" style=""><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><span lang="EN-US">I hope I can read into this recognition that moral rights need considerably strengthening.<span style=""> </span>The need to assert moral rights must be removed, and all publications should be obliged to credit work.<span style=""> </span>There must be a mechanism by which authors/creators can gain recompense when publishers fail to credit.<span style=""> </span>A penalty of + 50% of the agreed fee perhaps?</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <h4><span style="" lang="EN-US">Public perceptions of the existing system</span></h4>
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<br /><p class="MsoBodyTextIndent2"><span lang="EN-US">44. Our consultation has revealed that the public legitimacy of copyright has also been impacted by difficulties identified in the relationship between authors and rights holders,</span><span style="" lang="EN-US"> </span><span lang="EN-US">for instance those who do not receive a fair reward from those who exploit their works.<span style=""> </span>The gulf <span style="color:black;">between expectations of</span></span><span style="color:black;"> behaviour</span><span lang="EN-US"> and what technology allows has also marred perceptions of the copyright system, for example, people do not understand why they should have to pay for<o:p></o:p> using works in the “cut and paste” world in which we live.</span></p><p class="MsoBodyTextIndent2">
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<br /><span style="font-style: normal;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoNormal" style=""><i><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><span style="">People do not understand why they should pay because nobody has told them why.<span style=""> </span>That the majority of our population can go through eleven years of education, an educational system that is the envy of the world, without gaining knowledge of copyright, creators rights is 'eyebrow-raising' at the very least.<span style=""> </span>In a world where every child is a creator, where people, our children included regularly publish material on social networking sites, yet remain ignorant of copyright is a huge oversight.</span></p><p class="MsoBodyText" style="">
<br /><span style=""><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >We teach our children to use computers and become proficient with the World Wide Web and the Internet, yet we don’t teach them how to protect heir own created works.<span style=""> </span>Clearly there is scope for improvement here, and this requires the government to initiate changes in the appropriate areas of education.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Page 28</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span lang="EN-US" style="font-family:Tahoma;">There is a persistent belief among consumers (as well as among some authors) that authors get relatively little from deals with major rights holders.</span></i><i><span lang="EN-US" style="font-family:Tahoma;"><span style=""> </span></span></i><i><span lang="EN-US" style="font-family:Tahoma;">This seems to reinforce attitudes that copyright infringement is a victimless crime ‘because the author won’t see a difference’.</span></i></p><p class="MsoNormal" style="margin-left: 36pt;">
<br /><i><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></i></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >It is strange that from one perception comes a huge and intolerable misconception.<span style=""> </span>As I have mentioned several times already there is clearly a huge need to start educating the general population, and the best place to start will be our schools.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Thirty years ago who would have thought that smoking would ever be banned in public in the UK.<span style=""> </span>Yet, as a result of health campaigns in schools, the perception of smoking has changed and as a result despite thoughts to the contrary when it actually came to banning smoking in public buildings including Public Houses, the legislation went through with hardly any dissent, and now non-smoking is the norm.<span style=""> </span>We really do need to start educating our children about copyright.</span></p><p class="MsoNormal" style="">
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<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Page 31</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span style=";font-family:Tahoma;color:black;" >60. </span></i><i><span lang="EN-US" style="font-family:Tahoma;">European law </span></i><i><span lang="EN-US" style="font-family:Tahoma;">governs</span></i><i><span lang="EN-US" style="font-family:Tahoma;"> what exceptions are possible in the UK.<span style=""> </span>Currently it allows an exception for reproduction “for private use and for ends that are neither directly nor indirectly commercial, on condition that the rights holders receive fair compensation.</span></i></p><p class="MsoNormal" style="margin-left: 36pt;">
<br /><i><span lang="EN-US" style="font-family:Tahoma;"><o:p></o:p></span></i></p> <p class="MsoNormal" style=""><i><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><span style="">I think we have to be very careful here in how and what we describe as allowable exceptions.<span style=""> </span>Think of the situation where someone wishes to use another person’s image to promote say ‘a far right political party’, a use that many would describe as not directly commercial.<span style=""> </span>This might not be acceptable to many creators, and they would wish to have some say in how their material is being used.</span></p><p class="MsoBodyText" style="">
<br /><span style=""><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >There should be no exceptions outside of academic research and storage for use of creators work.<span style=""> </span>The creator would always be asked permission before his or her work is used, and the creator’s wishes should be honoured, and not by passed using unfair legislation.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Page 33<span style=""> </span></span><b><span style=";font-family:Tahoma;color:black;" lang="EN-US">A definition of non-commercial use</span></b></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoNormal" style=""><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US">68. Differentiation between types of use and access can make the determination of the non-commercial difficult.<span style=""> </span>Is the photograph of an artwork on the web page of a public library commercial use?<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Does the situation change when advertising is sold on that web page?<span style=""> </span>Does the situation change again if it is advertising a not-for-profit exhibition to be held at another public library?<span style=""> </span>This issue is currently the subject of debate within the Creative Commons community and is the subject of a recent report and study.<span style=""> </span>But the fundamental issue was understood and discussed as early as the 18th century.</span></i></p><p class="MsoNormal" style="margin-left: 36pt;">
<br /><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><o:p></o:p></span></i></p> <p class="MsoNormal" style=""><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><span lang="EN-US">We have to be very careful when we are making decisions that affect people livelihoods, and that can have a direct affect on their copyright status.</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >If we accept that libraries and academic institutions are a special case and can be allowed to digitise and store created works, then that is for most a good thing.<span style=""> </span>To then start talking about publishing those works, well that is different, and starts to become less acceptable.<span style=""> </span>Publishing is publishing after all, and if a web page is made available on the Internet then that is publishing, not storage.<span style=""> </span>If that image is published then it may be copied and stolen.<span style=""> </span>It is irrelevant, whether the library is actually charging for access to those pages or not.<span style=""> </span>If the library is charging for access then that very much does constitute commercial use, and not only should the creator be consulted, but the creator should also receive due recompense for that use.<o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Publication is publication, whether it is on the web, in a newspaper, a magazine, or a book.<span style=""> </span>Publication should only be by agreement with the copyright holder, and after a suitable payment has been agreed and made.<span style=""> </span>No image should be made available to any third party from a libraries store of permitted digitised images without the permission of the creator.<o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >If we start allowing unrestricted publication without reference to the creator merely on the basis that no money has exchanged hands then we immediately undermine the very notion of copyright.<span style=""> </span>It is not just about money, it is about control of ones basic rights as a creator.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Page 34</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US">69. In the digital age there are principles which could guide any legal recognition of non-commercial use, through exceptions or otherwise.<span style=""> </span><o:p></o:p></span></i></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US">First, it would have to recognise the changing, more interactive, relationship of consumers and users to content. <o:p></o:p></span></i></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US">Second, it would have to recognise the moral rights of the original author. <o:p></o:p></span></i></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US">Third, it would have to be accompanied by a compensatory system, which provides appropriate remuneration to rights holders.</span></i></p><p class="MsoBodyText" style="margin-left: 36pt;">
<br /><i><span lang="EN-US"><o:p></o:p></span></i></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><span lang="EN-US">No, no, no.<span style=""> </span>We cannot encourage a system where people believe it is acceptable to use someone else’s original created works without permission.<span style=""> </span>Before we allow consumers any further rights at all, we have to ensure that the understand the rights of creators, and about copyright, and about the integrity of created works.<span style=""> </span>This is currently not the situation.<span style=""> </span>You cannot give the consumer more responsibility until that can handle what they already have.</span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><span lang="EN-US">The moral rights of the creator MUST become enshrined in copyright, which currently it isn’t, but I am very unhappy with the idea that is suggested here that provided a credit is given that it is some how OK to steal or otherwise copy an image for ones own use.<span style=""> </span>This is unacceptable.<span style=""> </span>The creator must have a say in how his or her work is used, even if it is for a harmless school project.</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><span lang="EN-US">Whilst I applaud the idea that creators must be recompensed for use of their work, this should not just be a system by which wholesale use of created works without reference to the creator is sanctioned.<span style=""> </span>Each, and every creator needs suitable compensation for each and every use of their work.<span style=""> </span>Some sort of levy is not adequate.</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><span lang="EN-US">Whilst as a creator I welcome each and every new way of improving my income stream, I do not want to receive a paltry few pounds and in exchange have to lose control of my work.</span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><span lang="EN-US">One must realize that personal use to many consumers would be publication on Facebook, or Flickr or some other personal networking site.<span style=""> </span>Any such publication makes material open and available, to anyone capable of copying, cutting, and pasting documents.<span style=""> </span>A child using an image to illustrate a school project might well be considered acceptable educational use (but not all creators would agree with this, some images are incredibly difficult to capture), but personal use by consumers is a completely different thing altogether.</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><span lang="EN-US">We are not tolerant of file sharing music files, which can be purchased for less than a pound each.<span style=""> </span>Neither should we be tolerant of the sharing of image files, which fetch scores of pounds in publication up to many thousands.<span style=""> </span>Uncontrolled use of images is damaging to professional creators.</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><b><span lang="EN-US">Compensation for rights holders</span></b></p><p class="MsoBodyText" style="">
<br /><b><span lang="EN-US"><o:p></o:p></span></b></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText2" style="margin-left: 36pt;"><span style="font-size:100%;"><i><span lang="EN-US" style="font-family:Tahoma;">71. International agreements on copyright means that any non-commercial use must pass a three-step test under the Berne Convention.<span style=""> </span>Step three of this test states that if legislation permits the use of works, the use will not unreasonably prejudice the legitimate interest of the author.<span style=""> </span>Leaving aside questions of whether permitting non-commercial use would be reasonable, or whether non-commercial use would satisfy the certain special circumstances step of the three-step test, any unreasonable prejudice could be compensated for.</span></i></span></p><p class="MsoBodyText2" style="margin-left: 36pt;">
<br /><span style="font-size:100%;"><i><span lang="EN-US" style="font-family:Tahoma;"><o:p></o:p></span></i></span></p> <p class="MsoBodyText2"><span style="font-size:100%;"><i><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US">At this moment in time is there any realistic way for creators or rights holders to get appropriate compensation?</span></p><p class="MsoBodyText2">
<br /><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US">Page 35<span style=""> </span><b>Copyright Levies</b></span></p><p class="MsoBodyText2">
<br /><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText2" style="margin-left: 36pt;"><span style="font-size:100%;"><i><span lang="EN-US" style="font-family:Tahoma;">73. Copyright levies potentially offer benefits to rights holders and authors, both in terms of increased revenue and (as a consequence) greater attractiveness to investors.<span style=""> </span>In the EU, copyright levies raised €568m in 2004.</span></i><i><span lang="EN-US" style="font-family:Tahoma;"><span style=""> </span></span></i><i><span lang="EN-US" style="font-family:Tahoma;">However, there are concerns about the negative impact on business, particularly equipment manufacturers, while consumer groups have also expressed resistance towards levies.<span style=""> </span>For example, a levy may lead to paying twice for the ability to copy: once on the equipment and again within the purchase price of downloads from legal sites.</span></i></span></p><p class="MsoBodyText2" style="margin-left: 36pt;">
<br /><span style="font-size:100%;"><i><span lang="EN-US" style="font-family:Tahoma;"><o:p></o:p></span></i></span></p> <p class="MsoBodyText2"><span style="font-size:100%;"><i><span lang="EN-US" style="font-family:Tahoma;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US">Whilst there is no question that the copyright levy, the dividend of which is distributed to editorial photographers through the Design and Artists Copyright Society, is very popular with its recipients and works very well, Photographers would not want to compromise their control of their own work through such a general scheme.<span style=""> </span>I trust that this section is not going to be extended to the visual arts.</span></p><p class="MsoBodyText2">
<br /><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><span style="font-size:100%;">Page 36</span><span style="font-size:100%;"> </span><span style="font-size:100%;"><b>Licensing and access</b></span></span></p><p class="MsoBodyText2">
<br /><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent3"><i><span lang="EN-US">81. Even those who wish to stay scrupulously within the law often find that there is no clear, easy, legal route to obtain the rights they would need.<span style=""> </span>Expensive and lengthy rights clearance procedures do not make licensing of works impossible, but they inhibit it and may in some cases prevent the development of otherwise viable projects or interfere with research – including research on copyright itself.<span style=""> </span>Those who wish to use works may incur unnecessary costs seeking permissions or may infringe simply because the alternative is too onerous.</span></i></p><p class="MsoBodyTextIndent3">
<br /><i><span lang="EN-US"><o:p></o:p></span></i></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><span style="font-size:100%;">It is difficult to comprehend how anyone would describe the licensing of images in anyway complicated.</span><span style="font-size:100%;"> </span><span style="font-size:100%;">Contact is made with the rights holder, permissions is sought, a fee negotiated, agreed, and paid, and the image is licensed.</span><span style="font-size:100%;"> </span><span style="font-size:100%;">The only parties who seem to think that this system requires simplification are those seeking to circumvent it or to simply pay less and exploit material more.</span><span style="font-size:100%;"> </span><span style="font-size:100%;">A good example of this might be seen as<a style="color: rgb(51, 51, 255);" href="http://www.pressgazette.co.uk/story.asp?sectioncode=1&storycode=44079&c=1"> Guardian News Media</a></span>
<br /></span></p><p class="MsoBodyText2">
<br /><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"> <o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US">If there really are cases of complicated licensing it would be beneficial if some examples were given, as frankly from a photographic point of view licensing couldn’t be simpler.</span></p><p class="MsoBodyText2">
<br /><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:100%;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><span style="font-size:100%;">Page 37</span><span style="font-size:100%;"> </span><span style="font-size:100%;"><b>Cheaper and Quicker</b></span></span></p><p class="MsoBodyText2">
<br /><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><o:p></o:p></span></p> <p class="MsoBodyText2"><span style=";font-family:Tahoma;font-size:12pt;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent2"><span style="">83. Existing structures for authorising the use of copyright material are often ineffective, particularly for those who wish to exploit works.<span style=""> </span>Licensing, in particular, is proving difficult in areas of mass exploitation where it can be financially burdensome and time-consuming, especially for a commercial user who has to locate all rights owners and conclude contracts with each of them.</span></p><p class="MsoBodyTextIndent2">
<br /><span style=""><o:p></o:p></span></p> <p class="MsoNormal" style=""><i><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><span style="">Whilst it is unfortunate that in some isolated case mass exploitation may prove awkward or difficult, sometimes we just have to accept that this is the case.<span style=""> </span>The rights of an author/creator should not be compromised just because it is not as convenient as an exploiter would like.<span style=""> </span>Sometimes we just have to cope with difficulties.</span></p><p class="MsoBodyText" style="">
<br /><span style=""><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Page 38<span style=""> </span></span><b><span style=";font-family:Tahoma;color:black;" lang="EN-US">Extended collective licensing: tackling complexity</span></b></p><p class="MsoNormal" style="">
<br /><b><span style=";font-family:Tahoma;color:black;" lang="EN-US"><o:p></o:p></span></b></p> <p class="MsoNormal" style="margin-left: 36pt;"><b><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></b></p> <p class="MsoBodyTextIndent2"><span lang="EN-US">85.<span style=""> </span>‘Extended collective licensing’ has been used by the Nordic countries since the 1960s as a means for addressing the complexity brought on by mass use and exploitation of numerous rights.<span style=""> </span>Under the Nordic system, once a collecting society is deemed to represent a critical mass of rights holders, it is assumed to act for all rights holders in that class or category of right.<span style=""> </span>The works of all rights holders in the particular area that the collecting society represents are assumed to be in the collecting society’s repertoire, unless the rights holder specifically opts out of it.</span></p><p class="MsoBodyTextIndent2"><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >As a photographer, whilst I welcome the idea of being paid, I am unhappy about the notion that again I should lose control of my own work in this way.<span style=""> </span>Different creators might well have different ideas on how or whether their work should be used in this way or that, and in addition might well have different ideas about the value of their work.<span style=""> </span>Collecting societies are not well placed to negotiate individual fees for work, and as such it is clear that for photography at least Collecting Societies are no remedy.<span style=""> </span>All creators should have the right to say NO, and the right to price the use of their own work.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >I have less of a problem with schools accessing material that has already been published and that use being paid for via a collecting society.<span style=""> </span>However, I would be unhappy to see many other uses suddenly being deemed appropriate for Collecting Society involvement.<span style=""> </span>Under no circumstances could I envisage commercial work or publishing being paid for in this matter, regardless how convenient it might prove to the user.<span style=""> </span>All creators should retain the right to say no, and the right to price their own work.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><b><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></b></p> <h6><span lang="EN-US">Orphan Works: a legal basis for access</span></h6>
<br />
<br /><p class="MsoNormal"><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style="margin-left: 36pt;"><i><span lang="EN-US">90. Despite the licensing procedures in place, there are a number of circumstances in which works cannot be licensed and, as a result, may not be used legally unless the use is covered by an exception to copyright.<span style=""> </span>Where licensing negotiations fail or the rights holder is simply unwilling to give permission under any circumstances, then this is the right outcome.<span style=""> </span>But it is currently not possible to use a work that is in copyright legitimately if the owner of a right in the work cannot be identified or found, even after a diligent search and even if all other identified owners of rights agree to its use.<span style=""> </span>Works for which this is the case are known as ‘orphan works’; the rights for which no owner has been located can be termed ‘orphan rights’.</span></i><i><span style="" lang="EN-US"><span style=""> </span></span><span lang="EN-US">An orphan work may have been anonymously created or records of a right holder may have been lost (making it impossible to determine who inherits a right after its author’s death, for example).</span></i></p><p class="MsoBodyText" style="margin-left: 36pt;">
<br /><i><span lang="EN-US"><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><i><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><span lang="EN-US">Exceptions to copyright are very dangerous for the creator and have the potential to be exploited by the unscrupulous.<span style=""> </span>If a creator or license holder is unwilling to grant a license that how is this regarded as an appropriate reason to bypass the rights holder.<span style=""> </span>Should we be invoking exceptions every time a decision is made that we do not agree with?<span style=""> </span>Of course not!<span style=""> </span>This should absolutely be no different with copyright, and publishing rights.</span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><span lang="EN-US">If the rights holder cannot be found or identified, then the work should not be used commercially – end of story.</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyText" style=""><span lang="EN-US">Page 39</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoBodyText" style=""><span lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent2"><span style="">94. A scheme which encouraged the identification of orphan works’ authors, for example as a precondition for their licensed use by another party, could benefit groups such as photographers that are concerned about current infringing use.<span style=""> </span>Reducing incentives to infringe is a desirable feature of an orphan works scheme.</span></p><p class="MsoBodyTextIndent2">
<br /><span style=""><o:p></o:p></span></p> <p class="MsoNormal" style=""><b><i><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></b></p> <p class="MsoBodyText" style=""><span style="">No work should be published without the permission of the rights holder/creator.<span style=""> </span>Therefore any scheme, which would lead to the identification of the creator of an image, would, subject to examination, be welcomed.<span style=""> </span>That there are millions of created works without identified creators/rights holders currently on the World Wide Web alone is understood, most of these due to the destructive action of software as previously described (Facebook, Flickr etc).<span style=""> </span>Providing a means by which created works can be put with authors is a positive step, but this should in no way be connected to copyright legislation, nor should it be incumbent upon creators to fund such a vehicle.</span></p><p class="MsoBodyText" style="">
<br /><span style=""><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >A UK/European Government sponsored database of works where all created works could be stored would be a positive thing.<span style=""> </span>This could be shared around the world, and perhaps link with other similar government sponsored databases.<span style=""> </span>Orphan works as previously described could then be greatly reduced, and the pains of identifying authors prior to requests being made for publication/use much reduced.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >However, such a database should by no means be used as a vehicle to allow publication of created works without the creator’s permission, nor should it be a short cut to cheap imagery.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Page 45<span style=""> </span></span><b><span style=";font-family:Tahoma;color:black;" lang="EN-US">Education about rights</span></b></p><p class="MsoNormal" style="">
<br /><b><span style=";font-family:Tahoma;color:black;" lang="EN-US"><o:p></o:p></span></b></p> <p class="MsoNormal" style=""><b><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></b></p> <p class="MsoBodyTextIndent2"><span lang="EN-US">128. Education for users and consumers is important to developing a copyright system where people are responsible users, aware and respectful of rights.<span style=""> </span>Education measures could be deployed at the point of purchase of hardware that could enable copyright infringement education for schools and other educational institutions, for example.<span style=""> </span>Education is a way to tap into the latent willingness of people to pay and to strengthen the deterrent of piracy.</span></p><p class="MsoBodyTextIndent2"><span lang="EN-US">
<br /></span></p> <p class="MsoBodyText" style=""><span style="">Education about copyright is fundamental to the success of any improvement in the copyright law.</span></p><p class="MsoBodyText" style="">
<br /><span style=""><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >All citizens are potential creators, and most children are actual creators and many publish their own work habitually using social networking sites, web sites etc.<span style=""> </span>Children learn Information technology at school and the World Wide Web is part of their universe.<span style=""> </span>It never fails to amaze me how ignorant, schoolchildren today are about copyright, and what is more frightening is how ignorant so many of their teachers are.<span style=""> </span>Copyright should be taught at primary school along with basic keyword skills.</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Children have the ability from a very early age to access music, photographs, and other digital wonders, learning about copyright, and control of their own published work is an absolute essential.<span style=""> </span>Why is it not already being done?</span></p><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Page 46<span style=""> </span></span><b><span style=";font-family:Tahoma;color:black;" lang="EN-US">Enforcement of rights</span></b></p><p class="MsoNormal" style="">
<br /><b><span style=";font-family:Tahoma;color:black;" lang="EN-US"><o:p></o:p></span></b></p> <p class="MsoNormal" style=""><b><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></b></p> <p class="MsoNormal" style="margin-left: 36pt;"><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">131. Enforcement is often viewed by rights holders as the solution to infringement which should be utilised more effectively. Views from those outside of the creative industry tend to be mixed. There is a concern that an over-reliance on enforcement will stifle innovation within the creative industries. Some consumers suggested that rights holders were seeking unrealistic returns, i.e. that prices were too high relative to other goods or services. </span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">135 </span></i><i><span style=";font-family:Tahoma;color:black;" lang="EN-US">Representatives of all stakeholder groups believed that both education of the public on the financial and other harm caused by piracy and the development of attractive new business models helped win customer buy-in to consuming creative content online.</span></i></p><p class="MsoNormal" style="margin-left: 36pt;">
<br /><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><o:p></o:p></span></i></p> <p class="MsoNormal" style=""><i><span style=";font-family:Tahoma;color:black;" lang="EN-US"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoBodyText" style=""><span lang="EN-US">How on earth can enforcement stifle creativity?<span style=""> </span>Enforcement surely will make it easier for creators to create because their rights are upheld, and it will be easier in the future for them to create because they are less likely to suffer from theft, and are more likely to achieve payment.<span style=""> </span>Indeed if all users paid the proper rate for the work that they use then in many cases those rates may well come down because more money ends up with the creators!</span></p><p class="MsoBodyText" style=""><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></p> <p class="MsoBodyTextIndent2"><span lang="EN-US">132. Despite these opposing views of stakeholders about enforcement it is however acknowledged by most that piracy is commonplace: it is easy to access high quality content, the risk of detection is regarded as low and it is claimed this is seen as a victimless crime. The small sample of members of the public who engaged in full debate were clear that changing the perception that piracy is a victimless crime, by showing that authors suffer, is an important factor in changing public attitudes towards piracy.</span></p><p class="MsoBodyTextIndent2"><span lang="EN-US">
<br /></span></p> <p class="MsoNormal" style=""><i><span style=";font-family:Tahoma;color:black;" ><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></i></p> <p class="MsoNormal" style=""><span style=";font-family:Tahoma;color:black;" >Educate and enforce!</span></p><p class="MsoNormal" style="">
<br /></p><div><span style=";font-family:Arial;font-size:100%;" >Pete Jenkins
<br /><a style="color: rgb(51, 51, 255);" href="http://www.petejenkins.co.uk/">www.petejenkins.co.uk</a>
<br /><a style="color: rgb(51, 51, 255);" href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a>
<br /><a style="color: rgb(51, 51, 255);" href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a><a style="color: rgb(51, 51, 255);" href="http://www.photographerspro.eu/pete_jenkins/"> </a><span style="color: rgb(51, 51, 255);"> </span>
<br /><a href="http://www.petejenkinsphotothoughts.blogspot.com/">
<br /></a></span></div> <div><span style="font-size:100%;"> </span></div> <span style=";font-family:Arial;font-size:85%;" ><span style="font-size:100%;">Member of: The <a style="color: rgb(51, 51, 255);" href="http://www.nuj.org.uk/">National Union of Journalists</a></span></span><p class="MsoNormal" style="">
<br /><span style=";font-family:Tahoma;color:black;" ><o:p></o:p></span></p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></p> Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-27665930915645870592009-11-18T12:31:00.006+00:002009-11-18T13:26:19.481+00:00© the way ahead: A Copyright Strategy for the Digital Age<blockquote></blockquote><br /><br />For some time now we have been waiting for the Government to ‘announce’ its strategy with regard to copyright and orphan works. There has been much debate about the efforts in the United States to introduce an Orphan Works bill, and huge concern about the knock on effect of such a bill to ordinary creators such as independent freelance photographers (both editorial like myself and otherwise). I last talked about this in my blog in January (29th Jan 2009), and with the Queens speech due this afternoon it is time to revisit the subject.<br /><br />The <a style="color: rgb(51, 51, 255);" href="http://webarchive.nationalarchives.gov.uk/+/http://www.hm-treasury.gov.uk/d/pbr06_gowers_report_755.pdf">Gowers review</a> was published a while ago now<br /><br /><br />Then, we had the <a style="color: rgb(51, 51, 255);" href="http://www.ipo.gov.uk/c-policy-consultation.pdf">Copyright Consultation document</a><span style="color: rgb(51, 51, 255);"> </span>from David Lammy. I responded to this <a style="color: rgb(51, 51, 255);" href="http://www.ipo.gov.uk/responses-copyissues-jenkins.pdf">myself</a><span style="color: rgb(51, 51, 255);"> </span>as did many others, and I also took part in an online debate held by the <a style="color: rgb(51, 51, 255);" href="http://www.bjp-online.com/public/showPage.html?page=842175">British Journal of Photography</a> along with Paul Brown, the managing director of the Mary Evans Picture Library and chairman of the British Association of Picture Libraries and Agencies, BAPLA's executive director, Simon Cliffe, John Toner, freelance organiser at the National Union of Journalists, and Rupert Grey, consultant in the Litigation Group at media law specialist Swan Turton Solicitors<br /><br />and after this in June the <a style="color: rgb(51, 51, 255);" href="http://www.culture.gov.uk/images/publications/digitalbritain-finalreport-jun09.pdf">Digital Britain report</a>.<br /><br /><br /><br />The latest document“<a style="color: rgb(51, 51, 255);" href="http://www.ipo.gov.uk/c-strategy-digitalage.pdf">© the way ahead, A strategy for copyright in the digital age</a>”, was published on 28th October, and it is this document that I want to start looking at.<br /><br />It is a long document so I am going to take it in sections, looking first at the summary and Introduction.<br /><br /><span style="font-weight: bold;">© the way ahead</span><br /><span style="font-weight: bold;">Initial Response by Pete Jenkins</span><br /><br />Please note , the 'Indented' paragraphs in <span style="font-style: italic;">italics</span> are quotes from the document.<br /><br />David Lammy says:<br /><br /><span style="font-style: italic;"><blockquote>We are, however, at a crossroads in our relationship with our new digital world.<br />Digital technology means access to information on a vast scale. It has changed the way people publish and consume works. It allows anyone and everyone to make and distribute quick, cheap, and totally accurate copies. Consumers have reached out to grab the potential of this new technology. The copyright debate, once in the hands of the professionals of the creative industries, is now a debate for everyone. Businesses and governments have seen the challenges but have been slow to respond.<br /><br />Although creative industries and governments are trying to catch up with the digital world, there is more to be done. We must push harder. Policy makers need to get ahead of the game. They need to recognise the need to work with an awareness of what consumers are doing and want to do. And they need to recognise that no single national government has control of the agenda.<br /><br />We must now work within the international and European framework to ensure copyright keeps up with technology and consumer behaviour. We have to make it simpler, and make it address the concerns of all those who have an interest in the copyright system: business, consumers, creators, and copyright owners.<br /><br />(c) the way ahead: A Copyright Strategy for the Digital Age is a recognition that the world we live in has changed. This report is the latest part of our ongoing response.</blockquote><blockquote></blockquote></span><br /><br /><span style="font-weight: bold;font-size:130%;" >Page 1 – Executive Summary.</span><br /><br /><span style="font-weight: bold; font-style: italic;"> Findings from the Copyright Strategy</span><br /><br /><span style="font-style: italic;"></span><blockquote><span style="font-style: italic;">For the first time, individual citizens have the means to create, use and distribute copyright works through digital technology. People want to make use of these opportunities but in doing so it is almost inevitable that they will violate copyright. This mismatch of expectations is significant because neither the law nor people’s attitudes is easy to change.</span><br /><br /><span style="font-style: italic;">Copyright is also complex for users. Much of this complexity can be addressed by rights holders and how they administer their rights. This would have many advantages over changes to the law, which can be slow and risks adding to rather than reducing complexity.</span><br /><br /><span style="font-style: italic;">Making non-commercial use less onerous for consumers, for example by removing the need to seek permission and make payment for personal use of individual copyright works, would help tackle the “mismatch of expectations” problem. But fair compensation for rights holders would be required. Action at a European level would be necessary.</span><br /><br /><span style="font-style: italic;">Processes for licensing copyright works need to be improved. The Government has already brought forward proposals in the Digital Britain Report, which noted problems with access to “orphan works” and the potential benefits of extended collective licensing in tackling some of these problems. Non-compulsory registration systems may also help rights holders manage their rights more effectively.</span><br /><br /><span style="font-style: italic;">Creative industries face real challenges in monetising content. Firms must continue to evolve products and services to offer consumers something they value at prices they are prepared to pay. Education and enforcement can support these efforts but cannot tackle infringement of copyright on their own.</span></blockquote><br /><br /><span style="font-weight: bold;">Pete Jenkins response:</span><br /><br />It is positive to see that we all understand that everyone is or has the potential to be a creator. More so now than ever before. Whilst the public as well as specialist creators have always had access to pen and paper and have been able to create works, whether they be written or illustrative, the digital age whilst not actually making access any easier (what can be easier than a pen) has made the publication of such works more accessible to everyone who wants to take advantage of it. However, as has been said many times before, the mere ownership of as pen does not make one a prize winning author. The mere act of publishing itself does not convey any kind of quality on what has been published.<br /><br />There is a big difference between copying some one else’s created works and publishing something that has been worked on and crafted onesself. Just because it is easier to copy and paste, does not mean that one automatically has the right to do so.<br /><br />Ease of access is a wonderful thing, but this should not mean that publishing on the web or elsewhere justifies any kind of anarchy.<br /><br />Many, (not all), citizens make an assumption that because something has been published that it is automatically in the public domain, and that therefore it can copied and published further at will. There is also the thought that because something has been published on the web site of a large faceless publishing company that further copying is not hurting anyone, and that in any case such theft is somehow justified because of the size and wealth of large faceless corporations.<br /><br />What is not understood here, is that most creations, unlike say a packet of cornflakes in a supermarket, are most likely the product of one persons labor and creative process, and not necessarily part of a faceless corporation conveyor belt.<br /><br />Many, (if not most), Creators make a living by selling licenses to reproduce their product. It has to be a license rather than outright sale, as outright sale to just one party would deny the rest of the population access to that work. A scheme of licensing means, (or should mean), that the creator retains ultimate control of his or her, created work. This is important to insure that the work is not used inappropriately, as well as ensuring a small income stream for the creator.<br /><br />Contrary to the general perception of the population, creators are almost exclusively on a low wage, and do not make a lot of money out of their skills, indeed, as has been said many times before, freelance editorial newspaper photographers for instance are paid the same today in 2009 (or less), than the received for the same work in 1994. This is not healthy for creators, and casts a shadow over the commitment of those publishing organisations that pay these fees.<br /><br />It has been said many times in this document that copyright is complex. Exactly how is it complex? One either has obtained permission to use a work or one hasn’t. How is this complex? How is obtaining a license to use an image any different to obtaining the hire of a car. Indeed, observers might say that in this respect copyright is a far simpler process, yet there is no general outcry over either the cost or the process of car hire.<br /><br />Photographers are very concerned by the idea of,<br /><br /><blockquote style="font-style: italic;">Making non-commercial use less onerous for consumers, for example by removing the need to seek permission and make payment for personal use of individual copyright works, would help tackle the “mismatch of expectations” problem.</blockquote><br /><br />Why is it so important for consumers to have a right over created works that they have made no contribution to the production of? And how can this be deemed fair? Why is there a requirement to remove the need to seek permission? Is this not a basic moral courtesy in our society? And does not removing the need to seek permission, re-enforce the falsely held belief that individuals can do what ever they want with someone else’s created works, regardless of context and intent?<br /><br />The mismatch of expectations problems so described come from a lack of education. Society has had handed to it this wonderful publishing access opportunity (digital publishing and the ‘world wide web’), but has had little or no education in how such an opportunity can be correctly used, and the rights and wrongs of publishing this or that work.<br /><br />Reading, writing and arithmetic are the core subjects in this country’s educational system, understandably one of the envies of the rest of the world, it would seem simple common sense in the 21st century to include in the core curriculum, copyright and publishing. If we taught our children and our society how to publish correctly, not just how to use a keyboard and access the ‘world wide web’, many of these confusions and misconceptions would no longer exist.<br /><br />It is unclear to me as a professional photographer of more than thirty years experience, and indeed to other creators, when the matter is discussed in professional forums etc, what is wrong with the current process for licensing copyright works. One who wishes to publish seeks permission from the one who holds the rights. What can be simpler than that?<br /><br />Creators are aware that users of imagery such as large publishing companies wish to simplify the process, by saying (say) that one small payment to a licnece holder should then entitle the publisher to publish that work wherever and whenever that <a style="color: rgb(51, 51, 255);" href="http://www.bjp-online.com/public/showPage.html?page=857974">publisher chooses</a> . But this can be identified an attempt to get work cheaper and exploit the creator, rather than simplifying any publishing process as such. One must be careful not to confuse corporate greed disguised by a wish to simplify this or that process. Any attempt to simplify a process which actually work very well in it self should be made very carefully and not just be driven by the greed of those who want creators work cheaper or free, and that goes as much of large corporations as it does for individual members of the public.<br /><br />Access to ‘orphan works’, as they have been described in this document, are of huge concern to individual creators.<br /><br />If one doesn’t know a child’s name is the child therefore an orphan? Of course not. The same goes with a created work. There are so many situations where, especially publications authors details can be separated from a created work that alarm bells ring very loudly for any creator and supplier of work to publishers.<br /><br /><ul><li>In the past contact details would be attached to the back of hard copy images via a piece of paper glued in one corner. If that paper became removed, did the work become an orphan? Of course not.</li></ul><ul><li>Later when images were scanned, contact details would be added in an extended canvass field below the actual image itself. But in the reproduction process this canvass addition to the visible image was cropped out, and often the image would be resaved without the caption field leaving the saved image unidentified. Did this make the image and orphan? – NO.</li></ul><ul><li>In the age of fully digital imaging with photographs captured in a digital format photographers go to great effort to complete meta data panels within the digital data of the image. No image should therefore be an orphan. However, in many cases on uploading to the World Wide Web, storage in certain data-bases, all this electronic tagging data is removed. Do these images then become orphans? A ludicrous assertion.</li></ul><br />Many of the so-called problems with orphans are caused by poor storage, poor handling and in some cases deliberate intent. The idea that a non-compulsory registration system might also help rights holders manage their rights more effectively, is tantamount to saying that it is all the rights holder’s responsibility. Rather than suggesting that rights holders should be put to more expense in time and financial cost that registration in systems that do not exist, creators would suggest that actually removing the contact details from digital files should be made illegal, and effectively enforced by law. No creator has the ability to stop 2nd and 3rd parties abusing images by removing copyright and creator metadata and details, but those who handle images can certainly exercise responsibility. This does not need any new system to be put in place, nor need it impose any cost on creators.<br /><br />Whilst it is true that,<br /><br /><blockquote style="font-style: italic;">Firms must continue to evolve products and services to offer consumers something they value at prices they are prepared to pay. Education and enforcement can support these efforts but cannot tackle infringement of copyright on their own.</blockquote><br /><br />No creator who has given this any thought would expect ‘education and enforcement’ to be the answer to everything, but currently the balance of power is very much in favour of the abuser of creators rights. Education in copyright and the publishing and creation of works is pitiful, and lacking in most cases. There is a huge area of improvement possible here, and it would seem a simple matter to introduce it into the core curriculum. Indeed, one would have thought this essential in our digital age.<br /><br />As for enforcement, this is currently regarded as a joke by most creators. Most individuals do not have the time, finance or legal skill to pursue copyright infringors in the courts, courts themselves who in many cases do not always understand the process involved. And even when cases are won, it is usual only possible to recover the amount that should have been paid in the first place, with no punative damages. Such a process actually encourages copyright theft rather than preventing it. Some larger<a style="color: rgb(51, 51, 255);" href="http://copyrightaction.com/forum/getty-finally-sues-and-wins?page=1"> organisations</a> have recently had some success in pursuing copyright thieves, but they are able to afford processes and recovery agents that sole proprietors simply do not have access to at this time.<br /><br /><br /><span style="font-weight: bold;font-size:130%;" >Actions and recommendations</span><br /><br /><span style="font-weight: bold;"></span><blockquote style="font-style: italic;"><span style="font-weight: bold;">Based on these findings, the Government’s intentions are:</span><br /><br /><ul><li>for authors of copyright works; to support fair treatment through new model contracts and clauses and fair returns for use of their work by improving education about and enforcement of rights;</li><li>for rights holders; to help secure a viable future by encouraging the development of new business models, modernising the licensing process and maintaining support for education about and enforcement of rights;</li><li>for consumers; to allow them to benefit from the digital age by seeking to legitimise noncommercial use of legitimately-purchased copyright works and improving access to ‘orphan works’ such as out-of-print books;</li><li>for educators and researchers; to support them by improving access to works, resolving issues around copyright and contract and ensuring exceptions to copyright are right for the digital age; and</li><li>for businesses and other users; to work towards a simpler copyright system by, improving the copyright licensing process and encouraging the development of new business models.</li></ul><br />This means:<br /><ul><li>UK action to improve access to orphan works, enable extended collective licensing, encourage the development of model contracts and clauses, and tackle P2P fi le-sharing; and</li><li>A willingness on the Government’s part to consider European action that provides commonsense rules for private, non-commercial use of copyright material that will give consumers much more freedom to do what they want (such as creating mash-ups) and make clear what they cannot do.</li></ul></blockquote><br /><br /><span style="font-weight: bold;">Pete Jenkins response:</span><br /><br />There is no other obvious response to:<br /><br /><blockquote style="font-style: italic;">"for authors of copyright works; to support fair treatment through new model contracts and clauses and fair returns for use of their work by improving education about and enforcement of rights;"</blockquote><br /><br />other than to applaud the statement. This is exactly what creators want to hear. It will also be of huge value to the end user, and indeed, clarify matters for the agent or publisher. However, such good intentions need very careful monitoring.<br /><br />The statement:<br /><br /><blockquote>“<span style="font-style: italic;">to allow them to benefit from the digital age by seeking to legitimise noncommercial use of legitimately-purchased copyright works and improving access to ‘orphan works’ such as out-of-print books;</span>”</blockquote><br /><br />would seem to require more than a little clarification. Especially with regard to ‘out-of-print’ books. The mere fact that a book is out of print does not make it an orphan, and indeed the very notion seems to distort the whole notion of orphan works. A three-hundred-year old book that is out of print, is a different matter to a book that is out of print for merely five years, and when the author is still alive and identified.<br /><blockquote style="font-style: italic;"><br />"for educators and researchers; to support them by improving access to works, resolving issues around copyright and contract and ensuring exceptions to copyright are right for the digital age;"</blockquote><br /><br />Educators and researchers should not be exempt from copyright legislation and laws. That they should be allowed ‘some’ access to material is not to be denied, but exemption from copyright laws is going to far. Any blanket exemption is tantamount to inviting abuse. It would certainly be innapropriate for educational organisations to obtain material under an educational exemption, and then use this very same material for commercial gain. Before any special cases are made for education, it would seem prudent to ensure that that same educational system is fully informed in copyright matters and education those in its charge – both pupils and teachers.<br /><blockquote><br /><span style="font-style: italic;">"for businesses and other users; to work towards a simpler copyright system by, improving the copyright licensing process and encouraging the development of new business models.”</span></blockquote><br /><br />Publishers and big businesses are continually trying to simplify the copyright system, by attempting to introduce <a style="color: rgb(51, 51, 255);" href="http://www.epuk.org/News/135/ipc-rights-grabbing-contract-angry-letters-exchanged">rights grabbing contracts</a> to the creators who supply their imagery, but these are not attempts to simplify any process, or to improve copyright licensing but are aimed solely at making imagery cheaper for the publisher at the direct expense of the creator. This sort of business skullduggery should be directly opposed by this legislation and should not be encouraged in any way shape or form.<br /><br /><span style="font-weight: bold;font-size:130%;" >This means:</span><br /><br /><blockquote style="font-style: italic;"><ul><li>UK action to improve access to orphan works, enable extended collective licensing, encourage the development of model contracts and clauses, and tackle P2P file-sharing; and</li><li>A willingness on the Government’s part to consider European action that provides commonsense rules for private, non-commercial use of copyright material that will give consumers much more freedom to do what they want (such as creating mash-ups) and make clear what they cannot do.</li></ul></blockquote><br /><br /><br /><span style="font-weight: bold;">Pete Jenkins response:</span><br /><br />Few creators perceive that there is currently a problem with ‘orphan works’, and even fewer believe that there is a need for copyright legislation to be evaded or avoided.<br /><br />There is severe reservation amongst creators – editorial photographers in particular about ‘extended collective licensing’ being a method used for collecting payments for use of so-called orphan works. Just because a work has not got a clearly identified author immediately identifiable does not mean that the work is out of copyright, nor that an author is not identifiable with a little bit of effort. How exactly can collective licensing by its very definition a method of licensing for small amounts of uncollectable fees, be used to collect licensing fees? Orphan works simply do not fit into this remit of a collecting society. Creators want a proper fee for every use of their work, in the same way in that they wish to retain control over how their work is used. There are no ‘blanket fees’ for licensing created works, how could there be? Orphan works are totally different from photocopying licences – something which collecting societies work incredibly well in collecting on behalf of creators. How can collecting societies negotiate every individual license, which is what creators have to do, quite rightly so. Most editorial photographers simply do not see the connection between the two issues.<br /><br />Model contracts and clauses for the licensing of created works do exist, and there does not seem to be a deficiency in this area.<br /><br /><blockquote style="font-style: italic;">“commonsense rules for private, non-commercial use of copyright material that will give consumers much more freedom to do what they want (such as creating mash-ups) and make clear what they cannot do.”</blockquote><br /><br />Again, is it in the best interest for creators to allow unlicensed use of their work, even for consumers? Consumers are after all the end-user. To give them free rein to use created works as they wish seems unfair to creators, and will likely cause even more copyright infringements.<br /><br />Is not a ‘mash-up’ the use of two or more created works to produce a third hybrid work? Why is it deemed innapropriate for the original creators to be asked if they give permission? It would seem essential if copyright is to truly work.<br /><br /><span style="font-size:100%;"><br /></span><style></style><div><span style=";font-family:Arial;font-size:100%;" >Pete Jenkins<br /><a style="color: rgb(51, 51, 255);" href="http://www.petejenkins.co.uk/">www.petejenkins.co.uk</a><br /><a style="color: rgb(51, 51, 255);" href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br /><a style="color: rgb(51, 51, 255);" href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a><a style="color: rgb(51, 51, 255);" href="http://www.photographerspro.eu/pete_jenkins/"> </a><span style="color: rgb(51, 51, 255);"> </span><br /><a href="http://www.petejenkinsphotothoughts.blogspot.com/"><br /></a></span></div> <div><span style="font-size:100%;"> </span></div> <div><span style=";font-family:Arial;font-size:85%;" ><span style="font-size:100%;">Member of: The <a style="color: rgb(51, 51, 255);" href="http://www.nuj.org.uk/">National Union of Journalists</a></span><br /></span></div>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-44589505458169924102009-09-27T21:03:00.009+01:002009-11-18T13:04:00.347+00:00Victory for the Contract PhotographersGreat news that GNM management have admitted their mistake.<br /><br />Photographers are relieved that the Guardian News Media management have accepted the error of their planned attempt to deprive their freelance contributors of re-use fees announced on <a href="http://www.nuj.org.uk/innerPagenuj.html?docid=1347">Friday</a><br /><br />The hard work of NUJ’s Freelance Organiser John Toner in negotiating with GNM is recognised by editorial photographers everywhere.<br /><br />The NUJ is planning a ‘Guardian day of rest’, and this is welcomed, but of course all photographers should join those who have already <a href="http://www.bjp-online.com/public/showPage.html?page=869101">publicly refused</a> to work under the newly <a href="http://www.bjp-online.com/public/showPage.html?page=867059">announced conditions</a>.<br /><br />So far it has been a battle of nerves with the Guardian <a href="http://www.bjp-online.com/public/showPage.html?page=868877">refusing to commission</a> some non-consenting freelances on the one hand, and yet back-tracking and making exceptions just as frequently on the other.<br /><br />Today, the contractors, tomorrow everyone else, and if the Guardian do the right and proper thing, then we can all go back to regarding both the daily Guardian and the Sunday Observer as being amongst the best papers in Fleets street to work for. None of us like the feeling that the papers have stabbed us in the back, which of course is what they have done by unilaterally refusing re-use fees.<br /><br />The <a href="http://www.ipetitions.com/petition/GNMphotographers/index.html">petition</a> is now at 1,460 names and rising daily<br /><br /><br />The fear that most photographers have is that the GNM management will pigheadedly defy commonsense and best practice and will continue in their stubborn refusal to pay reuse fees for new work. The papers will then lose the good will of in excess of a thousand photographers, and then be forced to rely on inexperienced juniors desperate for a break; who will inevitably be told that these new terms are industry standard – when they are blatantly not, and we will see a new impoverished underclass of photographers most of whom will be forced to leave the industry when the find that the returns for their work will be well below the pay of fifteen years ago, whilst overheads have doubled during the same period.<br /><br />Freelance editorial photographers ask all photographers to refuse to work under the Guardian and Observers rights grabbing contract. If everyone says no, then GNM will have no choice but to restore normality.<br /><br />We want to trust the Guardian and the Observer. We enjoy working with the staff, we like seeing our images used properly, but we are also professionals and we have to earn a living. It is difficult enough these days without the supposed good guys 'putting the boot in' as well.<br /><br />One fee = One use<br /><br /><br /><br /><br /><br />Pete Jenkins<br /><a href="http://www.petejenkins.co.uk/">www.petejenkins.co.uk</a><br /><a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br /><a href="http://www.photographerspro.eu/pete_jenkins/%20%20">www.photographerspro.eu/pete_jenkins/ </a> <br /><br /><br />Member of: <a href="http://www.nuj.org.uk/">The National Union of Journalists</a>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-32850260709581025052009-09-01T17:45:00.007+01:002009-09-01T18:08:25.995+01:00Todays Guardian Protest<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6lYb47XUbKoHMfTGze34gTmo1biuEubaYMouWtBZ_0Pi6vD5SSv0hrIy9ytpmWv3mZVR0Fr5OBtoatJQVmUYFrDGxzONLKc-Mgo7r1Pm2pl_2p8VueGjG42pmw6RZ6iEaPBXK2ferLe8/s1600-h/090901PJ07476protest.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6lYb47XUbKoHMfTGze34gTmo1biuEubaYMouWtBZ_0Pi6vD5SSv0hrIy9ytpmWv3mZVR0Fr5OBtoatJQVmUYFrDGxzONLKc-Mgo7r1Pm2pl_2p8VueGjG42pmw6RZ6iEaPBXK2ferLe8/s400/090901PJ07476protest.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5376544068552106850" /></a><br /><br /><br />Photographers are very proud of their contribution to their industry, not least of these, those who contribute to the Guardian and Observer newspapers (Guardian News Media).<br /><br />Outside the Guardian today were a number of contributors to the Guardian. Noticeable in his support of his colleagues was former Observer Sports Photographer and multiple award winner <a href="http://www.eamonnmccabe.co.uk/ ">Eamonn McCabe</a>, who went on to become the Picture Editor of the Guardian, and cartoonist Steve Bell.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-R-9WVtA33X_G6LIAeBDtfNlc9W8segx2bsSSACIqIVLXl90rWkUYULr4a7aEBUPDN5unfTDKoT5btJ_6j9h5R1qzqZIQ_k9vLFfvr8ayxHpIIm9Q6Sv4bt4VsQLqj4Tw6_0LkxeKIvM/s1600-h/090901PJ0766stevebell.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-R-9WVtA33X_G6LIAeBDtfNlc9W8segx2bsSSACIqIVLXl90rWkUYULr4a7aEBUPDN5unfTDKoT5btJ_6j9h5R1qzqZIQ_k9vLFfvr8ayxHpIIm9Q6Sv4bt4VsQLqj4Tw6_0LkxeKIvM/s400/090901PJ0766stevebell.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5376543609812137106" /></a><br /><br /><br />The protest at the Guardian today by photographers was one that makes me very sad. That the Guardian and Observer of all newspapers should be imposing a rights grab on their most treasured contributors (their contract photographers), not to mention anyone unfortunate enough to receive a commission from the Guardian or Observer from today, is a huge disappointment.<br /><br /><br />“On 28 July, Chris Elliott, managing editor at Guardian News & Media (GNM), wrote to freelance and contract photographers to inform them that the company would cease paying reuse fees.” See <a href="http://www.bjp-online.com/public/showPage.html?page=867059">British Journal of Photography</a><br /><br />The <a href="http://www.ipetitions.com/petition/GNMphotographers/index.html">petition</a> against this action, now at over 900 names gives an indication of how photographers feel, and this number is rising steadily every day. <br /><br />Speakers at the rally during the protest included John Toner the NUJs Freelance Organiser, so often championing the rights of NUJ Photographer Members, <a href="http://jeremydear.blogspot.com/">Jeremy Dear</a>, General Secretary of the NUJ, also very vocal in supporting his photographer members, <a href="http://www.guardian.co.uk/profile/stevebell">Steve Bell</a> the Guardians excellent cartoonist, supporter of his photographer colleagues, and member of the Guardian NUJ Chapel committee, and Pete Jenkins, deputy chair of the Unions Photographers Sub Committee and Freelance photographer whose first contributions to the Guardian (and Observer) were more than twenty-five years ago.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUcQni0Og6ZcX8o1lpa7IfFAQn75rB6STRHh8utdi5hEy0EC84HeSMv8M3IHCLyhFxvI_qJSp-tb_WfGB2Qo4aYkWBbwG_AetGst4RHVI16qXmpmB4v02R13k5IHp7XgsI8v93eoI6nZE/s1600-h/090901PJ07453jeremydear.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 268px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUcQni0Og6ZcX8o1lpa7IfFAQn75rB6STRHh8utdi5hEy0EC84HeSMv8M3IHCLyhFxvI_qJSp-tb_WfGB2Qo4aYkWBbwG_AetGst4RHVI16qXmpmB4v02R13k5IHp7XgsI8v93eoI6nZE/s400/090901PJ07453jeremydear.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5376544343698140290" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCQKYOzPZSeMMjdI49JVIrschJ88o9hdntR-AHQtcV6mfiP6Kyvr6KeLHICz8_yaoohx7w-C8yPLWQOb7SE1h-vDO-ZTLFL6oh0FgtiLfTciifaBdVKaNP-m1rb2_yWEA0DhkDvNRgV4/s1600-h/090901PJ0740stevebell.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 266px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCQKYOzPZSeMMjdI49JVIrschJ88o9hdntR-AHQtcV6mfiP6Kyvr6KeLHICz8_yaoohx7w-C8yPLWQOb7SE1h-vDO-ZTLFL6oh0FgtiLfTciifaBdVKaNP-m1rb2_yWEA0DhkDvNRgV4/s400/090901PJ0740stevebell.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5376544341917010082" /></a><br /><br /><br />More than thirty photographers and their supporters were there to condemn GNMs unfriendly proclamation.<br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0RyDLtYFcKhOLjxW_4SITTq_ci-GnQhdbSkqNsUsqXB2ruO6qNHiGc4c9hCdSLYVYAebj29eZLmURgnZpjkBeGfrEiNW1d9scPJ8GykSgVBNI4s0ZAlsJEUnSil7e5Pwf7H6jzk9Jzd0/s1600-h/090901PJ07476protest.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 234px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0RyDLtYFcKhOLjxW_4SITTq_ci-GnQhdbSkqNsUsqXB2ruO6qNHiGc4c9hCdSLYVYAebj29eZLmURgnZpjkBeGfrEiNW1d9scPJ8GykSgVBNI4s0ZAlsJEUnSil7e5Pwf7H6jzk9Jzd0/s400/090901PJ07476protest.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5376545440066937042" /></a><br /><br />The NUJ report is <a href="http://www.nuj.org.uk/innerPagenuj.html?docid=1312">here</a>.<br /><br />I was privaleged to be allowed to say a few words to my colleagues, and they went something like this:<br /><br /><span style="font-style:italic;">“I have been a newspaper photographer all my working life, cut me and I bleed ink, that kind of thing.<br /><br />I had my first picture in the Guardian more than twenty-five years ago, and I have had maybe hundreds of images used, commissioned, live and on spec since then. I have been proud to supply the Guardian as most photographers are.<br /><br />But I have seen changes. Over the years fewer photographers are used, rates become stagnated, there is a higher reliance on PA for regional work, and now there are fewer photographers, fewer stringers, fewer on contract and fewer images used.<br /><br />The Berliner saw a dramatic change in the Guardians use of photography, fewer images needed to fill smaller pages, and smaller images used.<br /><br />This latest move shocks me. That Guardian News Mediahas so little regard for its suppliers, its photographers, also makes me sad, and I am disappointed that they should treat us in this way.<br /><br />I have few images published in the Guardian (or Observer) these days, but that doesn’t affect how I feel.”</span><br /><br /><br />How interesting to read about the <a href="http://www.gmgplc.co.uk/ScottTrust/Formationandpurpose/tabid/189/Default.aspx ">Scott Trust</a> set up in 1935 to ensure the continuation of the Manchester Guardian.<br /><br /><br />The core purpose of the Scott Trust is:<br /><br />· To secure the financial and editorial independence of the Guardian in perpetuity: as a quality national newspaper without party affiliation; remaining faithful to its liberal tradition; as a profit-seeking enterprise managed in an efficient and cost-effective manner.<br />· All other activities should be consistent with the central objective. The Company which the Trust owns should: be managed to ensure profits are available to further the central objective; not invest in activities which conflict with the values and principles of the Trust.<br />· The values and principles of the Trust should be upheld throughout the Group. The Trust declares a subsidiary interest in promoting the causes of freedom in the press and liberal journalism, both in Britain and elsewhere.<br /><br /><br />Photographers around the UK, and indeed around the world, will be wondering how this rights grab move by the GNM management fits in with the core purpose of the Trust. I wonder what John Scott would think were he alive today?<br /><br /><br />Pete Jenkins<br /><a href="http://www.petejenkins.co.uk ">www.petejenkins.co.uk </a><br /><a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br /><a href="http://www.photographerspro.eu/pete_jenkins/ ">www.photographerspro.eu/pete_jenkins/ </a> <br /><br /><br />Member of: <a href="http://www.nuj.org.uk/index.html">The National Union of Journalists</a>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-81153333693938641382009-08-19T21:54:00.004+01:002009-08-19T22:20:44.112+01:00National Union of JournalistsThe Union (<a href="http://www.nuj.org.uk/innerPagenuj.html?docid=1319">National Union of Journalists</a>) at large is a strange beast. Where like minded members communicate, like this blogging thing; usually some constructive stuff is done. Did you know that the <a href="http://www.ipetitions.com/petition/GNMphotographers/signatures.html">Guardian petition</a> is now up to 730 names? Slowly but surely, there are more names every time I look. It would be a great achievement to get this above 1000 in time for the <a href="http://www.nuj.org.uk/innerPagenuj.html?docid=1319">demonstration outside the Guardian</a> on the 1st September.<br /><br />So whereas photographers are fairly active and organise different events, protests, campaigns, some areas of the union need Union organisers holding their hands and doing it all for them, and even then occasionally no one else turns up. I have attended a number of events where I have been asked to become involved because I am a regional representative, or the NEC member, I give up my time, make the effort, and find that it is just me and the organiser that turn up.<br /><br />I am travelling down from Nottingham on 1st September to demonstrate outside <br />the Guardian and I know that there will be a large number of photographers in attendance, and some (many) will have travelled further than me. That is because so many of us care about what we do, and are passionate about our work.<br /><br />I have been very lucky in my life. Most of it I have worked in newspapers, and most of that in sport. It has been fantastic. I have met people, seen events, and been a part of things happening that I could never have, had I just been an ordinary member of the public. And yes I have also got huge kicks out of seeing my pictures in double page spreads and stuff, and bigger kicks out of some of the cheques I have had (in the distant past). But I have really enjoyed my job, and I hate to see how so many publishers are making it all turn sour.<br /><br />Back to NUJ stuff.<br />Most of the staffers in the union have their chapels, and so many of them are going through difficult times, with redundancies etc, that the members seem little interested in the wider picture, or often in many cases freelances, even those working close to chapel members. A classic example of that was at <a href="http://www.epuk.org/News/639/fury-at-nuj-drogheda-agreement">Drogheda</a>, where the freelance contract photographer was frozen out of chapel publisher discussions and meetings and ended up being forced out of her job and replaced with someone working for 20% less.<br /><br />Branches with very few exceptions are made up of chapel members who feel no need to attend branch meetings. The exception here is the freelances. The most vibrant well-attended branches in the union are often the freelance branches - <a href="http://media.gn.apc.org/">London Freelance</a> is a good example, or largely attended by Freelances (Nottingham). But even with LFB, the turn out is still only around 1% of membership on average (so I am told).<br /><br />There are branches that do better. My own branch Nottingham has just over 150 members, but regularly has in excess of 15 members turning up at meetings. Few union branches can boast a regular 10%+ turnout. But there are other branches that do as well. In Nottingham there is a good support network for members, and it is rare for a week to go by without my helping some member out in some way, even if on occasion it is only to direct them elsewhere :-)<br /><br />The Union is only its members. Members, who do stuff. All the photo initiatives that we have seen over the past year have all been initiated and done largely by ordinary members. Yes, of course, there has been a lot of help in certain areas by the Organisers, and Pam and John at the Freelance Office are invaluable and punch well over their own weight, and work tirelessly, but never the less without the members doing things few of our initiatives that fall under the NUJ umbrella would get off the ground.<br /><br />Nottingham is a vibrant branch because we make it so, same for LFB.<br /> <br /><a href="http://www.epuk.org/">EPUK</a>, that most excellent of resources, came as a result of NUJ photographer <br />members motivating themselves and doing it, same with Alan Murphy’s ‘<a href="http://www.irishphotographers.ie/revamp2008/index.php">Irish Photographers</a>’ list - he did that himself – he didn’t have to. Going back in the past, 1988 Copyright Act, UK Press Card all came about because members got up off their <br />arses.<br /><br />Nobody does it for us - we do it. The union is simply the organisation that <br />binds us together and on occasion assists with knowledge and expertise in <br />certain areas.<br /><br />We do need to support those who are shouting on our behalf, because if they <br />stop, who will do it for us?<br /><br />Things we can support today:<br /> <br /><a href="http://www.ipetitions.com/petition/GNMphotographers/signatures-15.html">Guardian Rights Grabbing petition</a><br /><br />'<a href="http://www.nuj.org.uk/innerPagenuj.html?docid=1319 ">Guardian protest</a>' on <br />1st September<br /><br />'<a href="http://photographernotaterrorist.org/ ">I am a Photographer not a <br />terrorist</a>' - I sense a bit of Jess Hurd there :-)<br /><br /><br />So sign the petition, write to the Guardian, take that picture and send it <br />in.<br /><br />Our industry is on its arse, maybe, just maybe, we can get it back onto its <br />knees... :-)<br /><br />Kind regards<br /><br /><br /><br />Pete Jenkins<br /><a href="http://www.petejenkins.co.uk">www.petejenkins.co.uk</a><br /><a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br /><a href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a><br /><br /><br />Member of: <a href="http://www.nuj.org.uk/">The National Union of Journalists</a>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-79261146288443963002009-08-11T12:10:00.006+01:002009-08-11T12:14:26.471+01:00Guardian Media Rights Grab - latestHi Folks,<br /><br />The latest move in the Guardian rights grab is that the NUJ in conjunction with the British Photographic Council has set up a petition site:<br /><br /><a href="http://www.ipetitions.com/petition/GNMphotographers/index.html">GNM Photographers Petition</a><br /><br />All Editorial photographers who could possibly submit to the Guardian in the future, or who have done in the past are requested to sign. <br /><br />If all professional (and would be professional) photographers would lend their support - we are all potential Guardian suppliers , that would be a big boost.<br /><br />Please sign.<br /><br />Your anticipated support is much appreciated<br /><br />Kind regards<br /><br /><br /><br />Pete Jenkins<br />Vice Chair, Photographers Sub-Committee, NUJ<br /><a href="http://www.petejenkins.co.uk ">www.petejenkins.co.uk </a><br /><a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br /><a href="http://www.photographerspro.eu/pete_jenkins/">www.photographerspro.eu/pete_jenkins/</a> <br /><br /><br />Member of: The <a href="http://www.nuj.org.uk">National Union of Journalists</a>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com0tag:blogger.com,1999:blog-7049889232983957417.post-39280785712702488792009-07-31T14:15:00.006+01:002009-07-31T17:04:49.599+01:00The Guardian Still Doesn’t like Us.After my blog piece on this new Guardian (GNM) 'rights grab', there was a mention on the British Journal of Photography web site ‘<a href="http://www.bjp-online.com/public/showPage.html?page=866785">Photographers protest Guardian's rights-grabbing move</a>’ <br /><br />They quote a spokeswoman from the Guardian saying the following:<br /><br />“We are currently operating in unprecedented trading conditions and have been compelled to look at costs across the entire organisation.<br /><br />The changes announced bring us in line with other national press and our terms and conditions for freelancers remain amongst the best.<br /><br />This is not a rights grab. The changes announced, in practice, will affect only a very small proportion of contributors. Stock photography and photography commissioned prior to September 1 2009 is unaffected. Furthermore, our standard syndication terms remain unchanged. We seek a non-exclusive licence to re-use new commissions, not the copyright. We have to establish a sustainable cost base for the future.”<br /><br /><br />It cannot be denied that the <a href="http://www.pressgazette.co.uk/story.asp?sectioncode=1&storycode=44075&c=1">Guardian</a> along with a number of other newspapers (But by no means all), is suffering in the current economic downturn – much the same as the rest of us I would imagine! I am a freelance; no one is going to be exposed to the tide of economics more than I. But did photographers cause GNMs problems? – well no. Are they such an expense that taking more from them will somehow revitalise GNMs financial position? – well no, far from it. The one thing you can say is that the freelance photographers on contract to the Guardian, (their staff compliment is very low, possibly even non-existent these days), are very much part of the newspapers strengths.<br /><br />“The changes bring us in line with other national press”. <br /><br />Well, who, exactly? And if indeed this was the case, how does one justify bad behaviour in a civilised society, surely not by saying the ‘other guy does it so it’s ok?' I bet Saddam Hussein was just kicking himself all the way to the gallows, that he didn't use this as a defence at his 'trial'.<br /><br />The Guardian say that other papers have already imposed rights grabs, and indeed the inference is that they all do. None of those newspapers have tried it on with me - only the Guardian. Perhaps the Guardian would care to name those newspapers it is merely emulating - they haven't done so, so far?<br /> <br />Had such a letter gone out from other publications I am sure there would have been the same outcry. I didn't react against the Guardian out of spite; I would have reacted to this letter whoever had sent it.<br /> <br />I understand that the '<a href="http://www.epuk.org/News/891/herald-times-face-more-industrial-action">Herald</a>' in Glasgow is trying to do the same thing, and I am aware that the <a href="http://www.nuj.org.uk/innerPagenuj.html?docid=1308">photographers</a> there are reacting against the demand, and bitterly resent it.<br /> <br /><br />Fleet Street has changed hugely in recent times. Whereas ten years ago I would have probably supplied images on commission or request to virtually every Fleet Street publication every week, now those requests are fewer and far apart.<br /> <br />Even those based in London, (where I was until 1999), are getting much less work than ten years ago, and for many outside the M25 it has almost vanished except on extra special jobs which simply have to have a local professional.<br /> <br />I make it clear again, whenever I supply a client, whether it is on commission or whether it is from my stock files, I supply that imagery on a one-use one-fee basis. If the client requires more than one use, then this can be negotiated, but it would be commercial suicide for myself or any other professional editorial photographer to suddenly change our working models to a one (low) fee for an unlimited unspecified use. Why would we want to do this? How could we make such a system pay?<br /> <br />If GNM want to have the same rights to our work as they would with staff photographers, then perhaps what they should be looking at doing is starting to take on staff photographers again, and paying them the going rate. That way they would have 'all rights' - in exchange for a salary.<br /><br /><br />The Guardian representatives often tell us:<br /><br />“Our terms and conditions for freelancers remain amongst the best”<br /><br />Unfortunately these days that is only in their dreams. The myth that the Guardian are the good guys unfortunately has taken a huge battering over the past few years, what with enforced syndication to the direct detriment of the contributor, and now this rights grab.<br /><br />It doesn’t matter how many times Guardian management staff tell us this isn’t a rights grab; it clearly is. The Guardian wants re-use rights for free. Not just re-use in the paper, but web use, use in books, and use for any other product they come up with. These are rights they had to pay for in the past, as do other publications. To now assume those rights for free, is by any definition I have come across, a rights grab.<br /><br />Merely repeating the words, ‘This is not a rights grab’, doesn’t magically make it the case – far from it.<br /><br />The changes, despite the assertions to the contrary will affect all future commissioned photographic contributors to GNM publications. That GNM use fewer photographers now than ever before is sad and unfortunate, but this new rights grab will affect all contributors.<br /><br />If the award winners like Tom Jenkins aren’t affected then that would make it all the worse that they do this to every one else. If Tom is affected, then how must he feel? What a way for the Guardian to repay his loyal services and his most excellent photography? Didn’t Tom win four awards in <a href="http://www.bjp-online.com/public/showPage.html?page=866582 ">PPY 2009</a>? <br /><br /><br />That the Guardian dare not make this retrospective is down to contract law, not I imagine some generous gift to the photographic community. To tell us that standard syndication remains unchanged is also somewhat misleading as they have only just introduced enforced syndication which specifically affects their photographic contributors, and is to the detriment, in some cases we are told, to the sum of many thousands of pounds per annum, of the freelance contributor.<br /><br />Finally, after telling us that this is not a ‘rights grab’ our spokeswoman explains<br /><br />“We seek a non-exclusive licence to re-use new commissions, not the copyright. “<br /><br /><br />I would be happy to consider licensing on this basis, and I am sure others would to, but there would have to be some financial compensation for this new ‘non-exclusive licence’. If there is no extra money then it remains a rights grab – there simply is no other phrase that covers it.<br /><br />ONE FEE – ONE USE.<br /><br /><br />Pete Jenkins<br /><a href="http://www.petejenkins.co.uk ">www.petejenkins.co.uk </a><br /><a href="http://www.onlinepictureproof.com/petejenkins">www.onlinepictureproof.com/petejenkins</a><br /><a href="http://www.photographerspro.eu/pete_jenkins/ ">www.photographerspro.eu/pete_jenkins/ </a> <br /><br />Member of: <a href="http://www.nuj.org.uk">The National Union of Journalists</a>Pete Jenkinshttp://www.blogger.com/profile/12090877571198744240noreply@blogger.com2