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April 8th, 2015

Pat Pope Says He Regrets Open Letter to Band, Urges Creators To “Stop Working for Free”

In what he says will be his final word on the matter, photographer Pat Pope says he regrets his public criticism of the alt rock band Garbage, but is sticking to his position that photographers shouldn’t give their work away.

Pope wrote an open letter to the band last week criticizing their management company for asking to use one of his images for free in a book project the band are working on. Garbage responded with an open letter of their own, telling Pope that the cost of self-publishing the book led them to ask photographers for free images. They also criticized Pope for making their request public.

In Pope’s “final word,” which he published on Facebook, he calls the open letter he wrote a “mistake.” He implies that “the negative comments and abuse hurled at me on the internet” make him regret the move. However, Pope doesn’t back down from the principles that inspired the letter, and he replies to some of the statements the band made in their response to his letter.

“I receive hundreds of these request a year [for free images],” Pope writes, explaining his reasoning, “as does every other photographer I know. This is the new normal, writing down a budget in which you’ll get the photographic content for free by making the photographer give it to you.”

He criticized Garbage again for their abuse of “the power relationship.” The band “paid someone at their management company to send me a pro-forma request for free usage of my work. When you receive a request like that, the power relationship is that a gigantic branded entity with huge reach and backing is asking a lone freelancer to accept that the value of their work is zero.”

Pope later claims that he’s “no ‘internet warrior,'” before urging that “all of us in the creative community have to Stop Working For Free [Pope’s emphasis].” Despite saying he regrets writing his own open letter, he urges others to do the same. “Let’s get this practice [of asking for free content] out in the open.”

Related: Photographer Openly Ridicules Band’s Request For Free Images
Band Defends Their Decision to Ask Photographer for Free Images

April 6th, 2015

Band Defends Their Decision to Ask Photographer for Free Images

Alternative rock band Garbage published an open letter to portrait photographer Pat Pope on April 3, defending their decision to ask for free use of an image for their book and suggesting Pope was out of line for calling them out publicly.

On April 2, Pope published an open letter addressed to the band, criticizing their management company’s attempt to get free license to publish one of his images in a book the band plans to self-publish to celebrate their 20th anniversary.

In his letter, which was published on Facebook and picked up by websites Louder Than War and Huffington Post UK, Pope wrote: “I’m a firm believer that musicians and artists deserve to be paid for their work,” and asked the band, “When you think about artists being paid, does that include photographers?”

The band responded a day later with an open letter of their own, pointing out that they paid Pope for the shoot in 1995 (though presumably it was not a work for hire agreement), that books are expensive to publish, and that many other photographers “were happy for their images to be seen in conjunction with the telling of our story.” The band also did a little public shaming of their own, writing that they “would never publicly admonish or begrudge a fellow artist for merely asking [for them to provide services for free].” (more…)

April 3rd, 2015

Photographer Openly Ridicules Band’s Request For Free Images

Portrait photographer Pat Pope, who has worked with many top musicians during his 20-year career, has published a snarky open letter to alternative rock band Garbage criticizing their attempt to gain free use of his images for their book.

Among Pope’s pointed questions: “Do you think ‘content providers,’ whatever the hell that means, deserve to be paid for their work, or is that a special category for musicians?”

Garbage was formed in 1993 and has sold more than 17 million records worldwide. (more…)

March 23rd, 2015

Unique College Program Helps Environmental Orgs See Value of Photography

© Joshua See

Mammalogist Tom Horsley prepares to remove a captured bat from a high-elevation mist-net in Borneo. Joshua See made this photograph while working with the Royal Ontario Museum as a student in the Environmental Visual Communication program. © Joshua See

Conservation photographer Neil Osborne understands how important visual communication can be to environmental and conservation organizations. Photographs, videos and other forms of visual storytelling can help non-profits share their messages and the work they do with wide audiences. Visual storytelling can also serve as an effective fundraising tool. But many nonprofits spend little on photography and other communications efforts, Osborne notes.

He and his colleagues at the Environmental Visual Communication (EVC) program at Toronto’s Fleming College saw an opportunity to match students with nonprofit organizations that need photography, video and other visual communications assets. Over the past three years they’ve developed a “placement partner” system for the EVC, which gives students real-world experience (and, in some cases, payment) while putting their talents to use for good causes. Many students “publish individual and collaborative works before they even graduate,” Osborne notes. In the process of providing “communication strategy and tactics to these groups to enhance and advance their messaging,” students demonstrate to nonprofits how valuable visual storytelling and the expertise of photographers can be in helping them meet their goals. (more…)

March 20th, 2015

On Showing Both Commercial & Fine-Art Work: Emily Shur’s Advice

Emily Shur's photograph of Kevin Hart for Men's Health. © Emily Shur

Emily Shur’s photograph of Kevin Hart for Men’s Health. © Emily Shur

"Hotel Pool, Osaka-fu," is part of Shur's ongoing project about Japan. © Emily Shur

“Hotel Pool, Osaka-fu,” is part of Shur’s ongoing project about Japan. © Emily Shur

Emily Shur recently posted on her Tumblr about two of her images (above) being selected for American Photography 31, each shot for very different purposes. One is a portrait of the comedian Kevin Hart commissioned by Men’s Health; the other, a photograph of a hotel pool in Osaka, Japan, that is part of a long-term personal project. While building her career as a commercial and editorial photographer, Shur has also made a point of showing and promoting her personal projects at portfolio reviews, on her site and to her social media audience. She also recently published a book of her work from Japan.

In her Tumblr post, Shur made some interesting observations about how, in a photographer’s career, the pursuits of commercial work and personal work seem, at times, to be in opposition to one another. She also addressed the concern that it might be detrimental or counterproductive for “commercial photographers” to show personal, fine-art photographs that may appear to differ completely from their commissioned images.

We asked Shur for permission to publish excerpts of her blog post here, because we though it might resonate with readers of PDNPulse who aspire to be successful both commercially and with their personal work. (more…)

March 6th, 2015

L.A. Pays $50k to Harassed Photogs, Agrees to Train Sheriff’s Deputies

Los Angeles County has agreed to pay a $50,000 settlement and instruct sheriff’s deputies to respect First Amendment rights to photograph and record their activities, according to a statement released earlier this week by the American Civil Liberties Union of Southern California.

The Los Angeles County Board of Supervisors approved the settlement on March 3, 2015, with the American Civil Liberties Union of Southern California and photographers Shawn Nee, Greggory Moore and Shane Quentin. (more…)

February 18th, 2015

Should Photogs Disqualified from World Press Be Banned? Org Says No, For Now

In the days since World Press Photo announced that 20 percent of the photographs they considered in the final rounds of the competition were disqualified for manipulation, many in the industry have called for WPP to release the offending images and make their standards more clear. In comments by jurors, WPP administrators and photographers published on the New York Times Lens Blog, 2015 competition jury chair and New York Times director of photography Michelle McNally noted that the manipulations led “many in the jury to feel we were being cheated, that they were being lied to.” World Press Photo jury secretary David Campbell notes that newspaper and wire service photographers get fired when they are caught manipulating news photos: “Narciso Contreras and Miguel Tova have lost their jobs because of manipulations that crossed the one line we can draw.”

These reactions beg the question: If World Press Photo is a reflection of the photojournalism industry, should photographers who attempted to deceive jurors—and the public—be banned from the competition? After all, newspaper and wire services have fired photographers who manipulated images.

According to World Press Photo managing director Lars Boering, the organization is not currently planning to ban any photographers who submitted manipulated images to the competition. “I might discuss that with the board and the team that is organizing the competition,” he told PDN, adding that “a lot” of the disqualified photos were cases of “clumsy” Photoshop use rather than blatant attempts to deceive competition judges.

World Press Photo rules state: “The content of an image must not be altered. Only retouching that conforms to currently accepted standards in the industry is allowed.” In her statement on Lens, McNally clarified that the manipulation the jurors disqualified included “removing or adding information to the image, for example, like toning that rendered some parts so black that entire objects disappeared from the frame. The jury—which was flexible about toning, given industry standards — could not accept processing that blatantly added or removed elements of the picture.”

The organization is very aware that manipulation accusations can deal huge blows to the careers of photojournalists, Boering says, which is why they are keeping confidential the names of photographers who were disqualified—despite calls for more transparency. “If people get caught by agencies, then they are thrown out, and I know it’s difficult for these people to get back to work or find other agencies, so that’s a serious thing,” Boering explains. “If an agency makes that decision it’s up to them because that’s their rules. We organize a competition; we care a lot about photojournalism and visual journalism, but…I don’t think we should be the ones that decide on the careers of photographers, and whether they should be ruled out of competitions with others or whether they should lose their job with their agency.”

“We’re not going to put their names out unless we think it’s really severe what they’ve done,” Boering adds. “It might be that we think about talking to them about the way they go about it.”

Boering said WPP had today sent notices to the disqualified photographers presenting their evidence and explaining their decisions. He says the organizations has received one or two responses from photographers accepting the decision.

It’s more important to WPP that this controversy sends a message to photojournalists and the industry, sparks discussion and, hopefully, a resolution, Boering says. “Technology makes a lot of things possible, but it makes it possible to find things…. The technicians that do our research, they’ve showed me several examples of things that you can do and I think it’s amazing.”

Boering says he’s heard from people at agencies and news organizations, and others in the photo industry in the past few days. World Press Photo is planning “several debates” starting on the day of the awards presentation, that he hopes will help the “find common ground with the industry to get it right.”

Related: Mads Nissen Wins World Press Photo of the Year 2014 Prize
AP Cuts Ties with Photographer Narciso Contreras Over Photoshopped Image
Photographer Fired by AP Says Decision Was Fair, But Process Wasn’t

February 13th, 2015

UPDATE: You Be The Judge: Did Jessie Ware’s Music Video Infringe Asger Carlsen Photo?

Update: More than a month after we reported photographer Asger Carlsen’s complaint about the striking similarity between one of his images and an image used in a recent music video, we learned there’s been an update. Scroll down for details.

Yesterday photographer Asger Carlsen called out director Christopher Sweeney and musician Jessie Ware for plagiarism. Posting to his Instagram account and Facebook page, Carlsen showed a still from the newly released video Sweeney directed for Ware’s song “Champagne Kisses,” comparing it to an image Carlsen created in 2010. In the video, which mixes retro and surrealist esthetics, Ware appears briefly sporting a lower body made of plywood, laid out in the exact same position as Carlsen’s model in the 2010 photo.

Reached for comment, Carlsen told PDN that he “cannot comment on the Christopher Sweeney video” at this time.

We’re pretty surprised that anyone would have the chutzpah to mimic such a distinct visual concept without reaching out to or crediting its originator.

Whether or not Carlsen could win a legal case is a trickier question, and courts have sometimes surprised us in their rulings on these matters.

UPDATE: Good Egg, the production company that represents director Christopher Sweeney, published a statement on their website apologizing to Carlsen and acknowledging that Sweeney “referenced” Carlsen’s image “without consent or permissions.” The statement read:

An image from Asger Carlsen was directly referenced without consent or permissions in a music video for Jesse Ware directed by Christopher Sweeney at Good Egg.

An informed social media reaction and action from Carlsen has prompted an acknowledgement and an apology.

Asger’s work remains an inspiration and we are happy to announce that this matter has now been settled to the satisfaction of all parties.

Carlsen declined to comment on the details of the settlement. Good Egg also did not respond to requests for comment.

Related: Rihanna Settles Lawsuit With David LaChapelle

February 10th, 2015

Funding Your Long-Term Photo Project—Upcoming Award and Fellowship Deadlines

Two awards and a pair of reporting fellowships are currently seeking applications.

The International Reporting Project at Johns Hopkins University is seeking applications for reporting fellowships on the topics of health/development and religion.

IRP says that the fellowship awards will include “roundtrip air tickets to and from [fellows’] homes and destinations, but all other travel must be arranged and paid by the fellow. IRP will offer a stipend based, in part, upon the budgets that all applicants must submit.”

Applications are accepted on a rolling basis until the deadline on Monday, March 16. Applicants can be freelance or staffers. For more information visit the program website.

The 5,000 Euro (approx. $5656) Alfred Fried Photography Award is seeking photographs that answer the question, “What does peace look like?” All photojournalists may enter the Austria-based award competition free of charge. The entry deadline is May 17, 2015. Visit the Fried Award website for more information.

Last but not least, the New Orleans Photo Alliance is currently accepting applications for its annual Michael P. Smith Fund For Documentary Photography award of $5,000. The award is open to photographers based on the Gulf Coast of the United States—Texas, Louisiana, Mississippi, Alabama and Florida. Emma Raynes, Director of Programs at the Magnum Foundation, is the judge for this year’s award. Applications require a fee of $25, and are due March 30, 2015. For more info visit the NOPA website.

January 22nd, 2015

Fellowship Opportunity for Conservation Photographers

The International League of Conservation Photographers (iLCP) is currently accepting applications for its Associate Fellows program. The iLCP is a non-profit organization whose members create images and other content that help advocate for environmental conservation causes all over the world. The organization counts many respected conservation photographers among its ranks, including senior fellows James Balog, Paul Nicklen, Christina Mittermeier, Krista Schyler and Tim Laman.

Fellows work with the iLCP to promote the work of the organization and partner organizations involved in conservation, participate in expeditions organized by the iLCP and receive support for their work from the iLCP.

Associate fellows work with the organization for two years before they are considered for senior fellowship. The iLCP lists several expectations for associate fellows on its site. Applicants are expected to have completed and published two major conservation photography projects. They should also be willing to mentor Emerging League Photographers and participate in events and workshops, among other qualifications.

The application for associate fellowships is due Friday, February 27, 2015. The application process involves two rounds. Each round requires a fee of $125.

To learn more about fellowships and read more about the application process, visit the iLCP site.

Related: The International League of Conservation Photographers and the Wilderness Society Protect Idaho’s Clearwater Basin