Following the announcement by Getty Images that the agency would be allowing non-commercial uses of its images free of charge, we interviewed Craig Peters, Senior Vice President of Business Development, Marketing at Content Images at Getty, to try and find out what the agency hopes to gain from this extraordinary decision…
We asked Peters how ad revenue will be shared, what this new business model means for the perceived value of images, and whether Getty is changing its position on enforcing copyrights on images.
“Getty’s Craig Peters on Why Free Images Are Good for Photographers, And for the Photo Industry” —PDN
So You Think Your Lens is Fast? Check out the De Oude Delft 50mm 0.75! —Japan Camera Hunter
“During the course of my job I have seen and heard of more ‘superfast’ lenses than you can shake a stick at. And after a while it just becomes a parade of the same old thing. But then something comes along that completely blows it all away. Meet the De Oude Delft 50mm 0.75! Faster than greased lightning.”
The Associated Press asked Ellen DeGeneres for permission to share her now-famous Oscar selfie with subscribers to their photo service. But does Ellen have the right to give it away? Who owns that picture?…
The problem, according to Los Angeles-area entertainment lawyer Ethan Kirschner, whom The Wire also spoke with, is that DeGeneres might not own the copyright on the photo. “Historically,” Kirschner told me, “it’s always been the person who pressed the shutter who’s technically the person that owns copyright.”
For Tom Robertson, landing a social media assignment from The North Face to photograph two ultra-marathoners attempting a record-breaking run was the easy part. Delivering the pictures was another story.
“I knew I would have to be in pretty good shape,” says Robertson, who got almost no sleep over three days as he leapfrogged the runners for 210 miles along a remote trail through California’s Sierra Nevada mountain range.
“Five Most Common Mistakes in Wildlife Photography – and How to Avoid Them” —Digital Photography School
Animals, especially wild ones, make such beautiful subjects that we cannot resist turning our cameras on them to capture images of these majestic creatures in their natural state.
Unlike a landscape, creatures are constantly in motion, and unlike most people, they can be pretty uncooperative when it comes to getting their picture taken. This can make for a lot of botched pictures. Here are a few tips on how to avoid some of the common pitfalls of wildlife photography.
Four of the photographers who were fired when the Chicago Sun-Times eliminated its photography department last spring are rejoining the newspaper this week.
Rich Chapman, Brian Jackson, Al Podgorski and a fourth photographer whose name was not confirmed are expected to be rehired under terms of a contract settlement reached in November between Sun-Times Media and the Chicago Newspaper Guild.
Photo Expert Stephen Mayes On Photography’s Future —Image Source
In a fascinating interview with Image Source Art Director Stephanie Cabrera, Photography expert Stephen Mayes explores the work of photo-journalist Tim Hetherington, the wider impact of stock imagery and the rapidly changing future of Photography
“Stop Shooting the Same Shot Over and Over Again” —DIY Photography
Most photographers have “safe shots”, shots they know how to pull off 10 out of 10 times, shots they know will please the client and shots that will put money in the bank. Now let me be very clear from the get go, this is a good thing. I know that a specific light set up, a specific vibe at the shoot and a specific way of asking questions and talking to the client will get me a specific kind of portrait, that makes people happy.
I’m so dang happy that I have those set ups ready to go, because a bunch of times those shots are exactly what the client want, and other times when my head just isn’t working and I’m not feeling it, I can use those setups to make a shoot work. What I don’t like is that I have at various points, and I assume I’ll get there again, been stuck in only shooting these safe shots.
Digital technology offers a chance for perfect, lossless preservation, but only at significant financial cost, and higher risk of catastrophe. Unless the unique challenges of digital preservation are met, we run the risk of a future in which a film from 1894 printed on card stock has a better chance of surviving than a digital film from 2014.