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January 23rd, 2014

HuffPost Ignoring PhotoJ Credits For Images of Kiev Clashes

Yesterday Huffington Post UK published “29 Incredible Pictures Of Kiev Transformed Into A Warzone,” but didn’t bother to caption or credit the images to the photojournalists who are risking personal harm to create them.

(Oddly, another gallery published by the Huffington Post empire using some of the same images did include proper credits and captions.)

Several news outlets are carrying wire images of clashes in Kiev between protestors and police. Among the photographers whose images are featuring prominently on the websites and front pages of major news media are Sergei Grits and Efrem Lukatsky, who are covering the protests for AP; Valentyn Ogirenko, Vasily Fedosenko and Gleb Garanich for Reuters; and Sergei Supinsky, Anatolii Boiko, Anatoliy Stepanov and Vasily Maximov for AFP/Getty.

Show some respect, HuffPost UK, while you count your clicks.

December 13th, 2013

White House Press Secretary to Photographers: We Respect You, But We Don’t Need You

In an exchange yesterday with reporters over why press pool photographers were kept away from President Barack Obama on his trip to Nelson Mandela’s funeral last week, White House Press Secretary Jay Carney ducked, dodged–and said times have changed.

“This is part of a bigger transformation that’s happening out there that’s driven by the ability of everyone to post anything on the Internet free of charge so that you don’t have to buy that newspaper or subscribe to that wire service to see that photograph.”

In other words, the White House doesn’t need press photographers anymore, and neither does the public, now that the White House can distribute its own pictures of the president online.

The exchange began when a reporter asked why White House photographer Pete Souza was allowed on the speaker’s platform when President Obama spoke at  Mandela’s funeral, but press pool photographers were not allowed. Reporters also pressed Carney hard on why press pool photographers were not permitted to photograph the President and First Lady, along with former President George Bush and his wife, Laura Bush, on the flights to and from the funeral in South Africa.

The White House released its own photos, shot by Souza, from the flight.

Carney took the questions with a preamble of praise to photographers. “I have huge admiration for that service to the free flow of information and the unbelievable bravery that cameramen and photographers display, especially overseas in hard areas, in dangerous areas, like Afghanistan, like Syria and elsewhere,” he said.

He added later on after reporters kept pressing the issue, “From the President on down–and I mean that–there is absolute agreement that there’s no substitute for a free and independent press reporting on a presidency or the White House, on Congress, on the government. It’s essential. Essential. And that includes photography.”

The White House got as much access as it could for press pool photographers on the speaker’s platform at the funeral, Carney said. When pressed about the lack of access on the flight, which reporters pointed out was 20 hours each way, Carney said, “For a lot of those hours, the President, the former President, the First Lady and the former First Lady were asleep. So we probably weren’t going to bring in a still pool for that. Or they were having dinner or something like that. But look, I think I just made clear that I want to work on this issue.”

How committed he is to “work on this issue” is unclear. Reporters pressed repeatedly for details, and Carney offered none, other than to say his office has met with representatives of the White House Correspondents. And he added, “I can promise you that the outcome of that will not be complete satisfaction” because of inherent tensions between all administrations and the press over access.

Last month, Carney rejected a request from 38 news organization for a meeting to discuss their complaint about a lack of access for press pool photographers to the Oval Office. In doing so, he told them the public interest was served well enough by the stream of photos the White House was releasing on social media.

The media has dismissed those photos, by Souza and other White House photographers, as “visual press releases.” In an op-ed piece published in The New York Times yesterday, Associated Press Director of Photography Santiago Lyon labeled the White House handout photos as “propaganda.”

Related:
AP Photo Chief Appeals to Public About White House Access. Will It Help?
Media Protests White House Limits on Photographers

December 12th, 2013

AP Photo Chief Appeals to Public About White House Access. Will It Help?

Official White House Photo by Pete Souza, from memorial for Nelson Mandela. Handouts like these are "visual press releases," argues AP's Santiago Lyon.

Official White House Photo by Pete Souza, from memorial for Nelson Mandela. Handouts like these are visual press releases, argues AP’s Santiago Lyon.

The White House has waved off a complaint from media organizations about photographers’ lack of access to the Oval Office, and now Associated Press director of photography Santiago Lyon has taken the complaint to the op-ed pages of The New York Times.

The question is, will the AP’s protest stir the kind of public outrage that makes the White House relent?

Last month, 38 media organizations sent a joint letter of protest to the Obama administration, charging that it was denying them the right to photograph and videotape the President while he was performing official duties in his office. According to the letter, the administration is keeping photographers out by designating the president’s work meetings as private. But the White House has been posting its own photos of those meetings on social media.

In other words, the White House is doing an end run around the press corps. The aggrieved media organizations criticized the administration for its lack of transparency, and dismissed the White House photos as “visual press releases.” The news organizations asked for a meeting with White House Press Secretary Jay Carney to discuss removing the restrictions.

Through one of his deputies, Carney’s response boiled down to: We’re keeping the public plenty informed, so take a hike.

With Lyon’s Op-ed piece to the Times, AP is hoping to get a more sympathetic hearing in the court of public opinion.

Carney “missed the point entirely” with his dismissive response to the protest letter, Lyon writes. From there, he reiterates the point that White House photos are visual press releases, not journalism. The official photos “propagate an idealized portrayal of events on Pennsylvania Avenue,” he writes.

After arguing the merits of images by independent news photographers, Lyon concludes: “Until the White House revisits its draconian restrictions on photojournalists’ access to the president, information-savvy citizens, too, would be wise to treat those handout photos for what they are: propaganda.”

And he’s exactly right. But it’s hard to imagine a public clamor on AP’s behalf for two reasons. First, when it comes to Oval Office photo ops, citizens might have a hard time distinguishing between photos from the pool and White House handouts. Second, the public doesn’t hold the press in high esteem these days. To many non-journalists, Lyon’s complaint might only come across as whining.

What citizens are really interested in are images of the President’s unscripted moments, as Lyon suggests in his op-ed piece. He mentions some memorable photos of past presidents. Most happened outside the Oval Office: Nixon flashing a victory sign as he was boarding a helicopter after his resignation, Ronald Reagan waving from a hospital window after his cancer surgery, George W. Bush’s look of astonishment when he first heard of the 9/11 attacks.

What news organizations need to do, besides editorialize in The New York Times, is redouble their efforts to show the public what the White House will never release: fresh, unscripted, uncensored images of the President. The pictures from Nelson Mandela’s funeral of Obama’s handshake with Raul Castro and the selfie incident were certainly a good start.

November 18th, 2013

Video Pick: Shaul Schwarz’s Two-Year Journey into Narco Culture

Shaul Schwarz’s documentary on drug cartel violence in northern Mexico opens in theaters in New York and Miami on November 22, and will be shown in other cities starting December 6.  Schwarz, a photographer and cinematographer represented by Reportage by Getty Images, spent two years making the film. You can see a trailer for the film, “Narco Cultura” here on the website www.narcoculture.com and on YouTube.

“Narco Cultura” looks at the toll of drug violence from several perspectives. For example, he visits Juarez, Mexico, to see what may be the busiest crime scene investigation unit in the world. He also explores the scene surrounding narcocorrido music, and follows one musician, Edgar Quintero, leader of a band that plays for fans both north and south of the US/Mexico border.  And it shows those who are left to grieve after acts of violence and retaliation.

Schwarz recently talked to PDN about how he got the film into festivals, for our article, “5 Steps to Promoting and Distributing Your Film.

The movie was shown at the Sundance Film Festival earlier this year. An interview with Schwarz about the making of the film can be viewed on the Sundance Institute website.

October 29th, 2013

Gilles Peress’s Post-Sandy Book Tests “Generosity-Based” Publishing

© Concord Free Press/photo by Gilles Peress/Magnum

© Concord Free Press/photo by Gilles Peress/Magnum

Starting tomorrow, the day after the anniversary of when Hurricane Sandy made landfall on the East Coast of the U.S., the publishing house Concord Free Press is giving away copies of The Rockaways, a new book which features Gilles Peress’s images of the storm’s devastation in one of the hardest hit areas of New York City and essays by high school students and other residents of the neighborhood. All 4,000 numbered copies of the book are free, but in exchange, everyone who receives a copy is asked to make a donation to a charity of their choosing or to a person in need, and to pass along the book so the giving continues. The Rockaways is the eighth book published by Concord Free Press, which co-founder Stona Fitch calls an experiment in “generosity-based publishing.”

“Like everybody else, I was really moved by the distress of many of the people affected, especially the poorest part of the population in the Rockaways,” says Peress. “I think of all of us felt on some level: How can we help?” Hamilton Fish, former publisher of The Nation and a member of the Concord Free Press advisory board, edited The Rockaways and approached  Peress about donating images to the effort. “It was a no-brainer. I said yes after the first sentence,” Peress says. He adds, “It’s up to you and your conscience and your wallet to donate to what you think is a worthwhile cause–hopefully dealing with the Rockaways and hopefully dealing with income disparity.”

“We’re about linking art and activism,” Fitch says. Concord Free Press’s other seven books have each raised $50,000 to $60,000 in charitable donations. Designers, writers and publicists donate their time; Kodak provided digital printing for The Rockaways and for Concord Free Press’s previous book, Round Mountain, a collection of short stories set in a small town in Vermont, which was released after Hurricane Irene caused massing flooding in the state. The Rockaways is the publisher’s first photo book. Fitch calls Peress’s images of the ravaged working-class neighborhood  “powerful.” He says, “When you’re given something so beautiful and powerful for free, it has a great effect for inspiring generosity.” By stirring donations, Fitch says, the book can “help address the problem that was being photographed.” He acknowledges that people might be reluctant to pass The Rockaways along, “because Gilles’s book is so beautiful.”
(more…)

September 5th, 2013

Facebook Makes Alarming Changes to Terms, ASMP Breaks Down the Changes

Facebook has altered their terms of service to make it possible for companies that pay the social media network to utilize Facebook users’ content and likeness without compensation or permission. The changes are sure to alienate Facebook’s users in the creative community, who make a living from licensing their work and content.

Among the changes is this gem:

“You give us permission to use your name, and profile picture, content, and information in connection with commercial, sponsored, or related that content (such as a brand you like) served or enhanced by us. This means, for example, that you permit a business or other entity to pay us to display your name and/or profile picture with your content or information, without any compensation to you. If you have selected a specific audience for your content or information, we will respect your choice when we use it.”

ASMP created a handy Q&A about the new terms of use that helps break down the changes and what they mean for photographers.

This comes on the heels of the ASMP-led criticism of Instagram that was recently issued.

We have to wonder, at what point will a social network take the step to actually compensate the users that make it tick and protect them from unauthorized exploitation and surveillance? Seems to us like a network that figured out how to do that would find a community very quickly.

Related: Photography Trade Organizations Take Aim at Instagram Terms
AFP, Washington Post Violated Daniel Morel’s Copyrights, Judge Rules
Morel Case Highlights Copyright Risks of Social Networks

August 27th, 2013

Landscape Photographer Edward Burtynsky Explores Another Endangered Resource: Water

Burtynsky-Watermark-Water
Edward Burtynsky, the photographer renowned for his monumental photographs that explore how human activity alters the landscape, has spent the last five years investigating our exploitation of a precious natural resource: Water. Spanning ten countries, “Water” may be his most ambitious project to date. “Over five years, I have explored water in various aspects; distress, control, agriculture, aquaculture, waterfront and source,” Burtynsky explains on the project’s website. Next month, Steidl will publish 114 of the images in a new book, Burtynsky –Water, and exhibitions will open at galleries in North America, Europe and the UK. A documentary about the project, Watermark, co-directed by Jennifer Baichwal, who directed Manufactured Landscapes, an earlier film about Burtynsky’s work, will be shown at the TIFF film festival in Toronto on September 6.

The film was shot in 5K high-definition video, to capture the details in his aerial views and landscapes: a ritual swim by worshippers in India’s Ganges River, an enormous dam in China, leather tanneries pumping water in Bangladesh, a suburban development sprawling across former desert in Arizona, dryland farming in Spain.

Even when seen on a computer screen, the trailer looks pretty great:

WATERMARK – Trailer from Flowers Gallery on Vimeo.

(You can also see the trailer on Vimeo.)

“Water” opens at Nicholas Metiver Gallery in Toronto on September 5. Other shows of Burtynsky’s work, including images from his project on water, open at Howard Greenberg Gallery and Bryce Wolkowitz Gallery in New York City on September 19. You can view more of the images and see a full list of exhibitions on Burtynsky’s website here.

Related articles

Anatomy of an iPad App: Edward Burtinsky’s Oil

August 23rd, 2013

Freelance Photog’s Tale of Abduction By Syrian Rebels Serves As Warning

Today The New York Times published a story about a freelance photographer’s abduction and captivity in Syria. The tale should serve as a warning for photojournalists—particularly those who are inexperienced—who might be inclined to freelance in a war zone.

Matthew Schrier was abducted in Aleppo on December 31, 2012, he told the Times, taken out of a taxi by Syrian rebels with ties to Al Qaeda and passed among rebel groups for seven months. According to the article by CJ Chivers, Schrier believes the driver of the taxi he was riding in out of Aleppo “probably” participated in his abduction.

“His experience reflects the sharply deteriorated climate for foreigners and moderate Syrians in areas subject to the whims of armed religious groups whose members roam roads, staff checkpoints and occupy a constellation of guerrilla bases,” Chivers writes.

Schrier’s captives accused him of working for the CIA, tortured and interrogated him, and assumed his identity online and communicated with his friends and family. In an account of one of the beatings Schrier suffered, Chivers writes, a captor asked Schrier, “Have you heard of Guantánamo Bay?”

When he escaped he left behind another American who couldn’t fit through the small basement window Schrier had slipped out of.

“Mr. Schrier’s detention is one of more than 15 cases of Westerners, mostly journalists, being abducted or disappearing in Syria this year,” Chivers writes. “The victims range from seasoned correspondents to new freelancers, like Mr. Schrier, who was covering his first war.”

Read the full story: http://nyti.ms/1c0IJfh

August 22nd, 2013

Photography Trade Organizations Take Aim at Instagram Terms

Several professional photography trade organizations have banded together to study Instagram’s Terms of Service, and today the American Society of Media Photographers issued the following press release:

Photographic Community, Led by The American Society of Media Photographers, Deems Instagram Terms Too Far-Reaching

PHILADELPHIA, Aug. 22, 2013 (GLOBE NEWSWIRE) — The American Society of Media Photographers (ASMP), joined by National Press Photographers Association (NPPA), The Digital Media Licensing Association (PACA), American Photographic Artists (APA), This Week in Photography (TWiP), Professional Photographers of America (PPA), Coordination of European Picture Agencies Stock, Press and Heritage (CEPIC), Graphic Artists Guild (GAG) and American Society of Picture Professionals (ASPP), has mounted a campaign to address the far-reaching Terms of Use of the image sharing service Instagram. Since 2010, more than 16 billion images and movies have been uploaded to Instagram. The organizations believe that few of the users who share images on the site understand the rights they are giving away. ASMP has issued “The Instagram Papers,” information in the form of essays and analysis about the Terms of Use in which the key issue is that users should have the ‘right to terminate’ their agreement with Instagram, allowing them to remove permissions for the use of their identities and content at any time.

Specifically, the Terms of Use give Instagram perpetual use of photos and video as well as the nearly unlimited right to license the images to any and all third parties. And, after granting this broad license to Instagram, users also relinquish the right to terminate the agreement. Once uploaded, they cannot remove their work and their identity from Instagram. Additionally, in the event of litigation regarding a photo or video, it is the account holder who is responsible for attorney and other fees, not Instagram.

Moreover, while Instagram’s agreement includes the right to sublicense images, it specifically excludes the need to ever pay creators, regardless of the way the company may use or sell their work. The photographic community believes strongly that fair compensation for the creators of work is a vital component of a fair agreement.

According to ASMP Executive Director Eugene Mopsik, “While clearly benefiting Instagram, the rights of imaging professionals and general users stand to be infringed upon in an unprecedented way. We are concerned that not only have Instagram’s Terms of Use gone beyond acceptable standards, but also that other social media providers may use these onerous terms as a template for their own agreements.”

Peter Krogh, ASMP’s Digital Standards & Practices Chair, said, “As online services become larger repositories of intellectual property, power has shifted away from the user and toward the company provider. Unless changes are made by Instagram, we believe the terms will have a profound and negative impact on imaging professionals, publishers and general users.”

In the coming weeks and months ASMP, along with the other listed organizations, will continue to reach out to gain support in addressing these egregious terms before they become the industry standard.

Related: Bowing to Pressure from Users, Instagram Retracts New Terms of Use
Now That We Know Instagram Isn’t a Charity, What Would You Be Willing to Pay?

August 21st, 2013

From Twitter to TIME: An Egyptian Photojournalist Finds His Voice Amid Violence

A difficult reality of photojournalism is that photographers often define their careers by covering conflict. Egyptian photojournalist Mosa’ab Elshamy is the latest example. Elshamy began photographing as a citizen journalist during the Arab Spring protests in Egypt in 2011, when he documented demonstrations against then-President Hosni Mubarak in Cairo’s Tahrir Square. Two and a half-years later, he’s made the transition from being an amateur to being a photojournalist who is watched by top photo editors and a nearly 40,000-strong Twitter following.

Elshamy’s work in Egypt, and from Gaza during the 2012 war there, has been published by the likes of The Economist and Harper’s among others, and he’s won awards in the Egypt International Photography Contest and Arab Union of Photographers competition. Yet during the last few weeks his photos of Egypt’s descent into violence, particularly his images of the clearing of a pro-Morsi sit-in at Rabaa at the end of July, have earned him the cover of The New York Times and bylines for TIME International and AlJazeera English, among other publications.

Patrick Witty, international picture editor of TIME, says he first heard about Elshamy’s work on Twitter at the end of July. “After the massacre at Rabaa Square on July 27, someone I follow tweeted about a picture he made,” Witty told PDN in an email. “I tracked it back to his Flickr account and reached out to him.” (more…)