News

Warning of a new eBay fraud


As a good little gadget-fiend, I occasionally buy and sell equipment - whether that be camera equipment or other electronic dooh-dahs - online. Frequently, I'll use eBay - and as a result, I've seen all the tricks in the book: people have tried to defraud me in dozens of different ways and (unfortunately) have been successful a couple of times, too.

Anyway, I recently came across a brand new one that was a little sinister, because I could easily see someone falling for it, so I figured I'd like to share it you, my fellow photo-gadget-fiends.

In this case, the fraud started after I already sold an old iPhone. I then received an eBay message with the following:

"I lost my I phone in a cab on Friday July 14th and I clearly recognized it from the pictures you posted. I wanted to inform you that I saw the police this morning to file a record and printed your ad. Apple recognized the series number with my name and all the identification I also informed E bay about your case. We could try to solve this out the easy way if you restitute the phone to me or let the police get in touch with you for this fraud. I am looking forward for your answer to get the contact information from the person who bought the phone you sold - which can now be described as stolen and resold as the police qualified it. Cheers. "

Of course, there's several warning signals here:

a) It seems unlikely that someone could recognise an individual iPhone between the hundreds (actually, I just checked - On eBay UK alone, there's currently 1,328 iPhone 3Gs phones listed) of phones available on ebay

b) You don't file a record with the police. You report a crime.

c) Apple doesn't get involved in recognizing a 'series number'. Even if they did, it would be a 'serial number'. And even if that they got involved with that, phones are identified by their IMEI number.

d) "Restitute" a phone? I'm guessing I'm talking to a Frenchman here, confusing 'Restituer' (French for 'return') with, er, 'return'.

e) Police wouldn't qualify this as theft. Handling stolen goods, perhaps. Certainly not fraud, as my easily-confused friend stated here. Unless he was referring to his own attempt to defraud me, of course.

Finally, the most crushing pieces of evidence in my defence:

f) I've had the phone from new
and
g) He says he's lost the phone on the 14th, but my eBay auction started on the 5th of July. Whoops.

Anyway - it wouldn't surprise me if people try to pull scams like this when you try to sell camera gear on-line as well, so it's always a good idea to keep your eyes open for stuff that doesn't sound right.

So, of course, I've launched a lovely little fraud investigation myself: After all, it's a little bit ironic to get defrauded by someone who is claiming I'm guilty of fraud.

Staying safe when buying (or selling) online

If you're getting an iffy-sounding e-mail, put a phrase from it into Google. Chances are that it's a known scam. Also: eBay's own anti-scam reviews and guides are worth a read.

Stay safe and happy shopping!

Triggertrap prototype photos


Funding going well! See the rest of the photos for prototype pictures

So, by now you can't have missed that I've been working on a pretty huge project: A retail product called 'Triggertrap'. It's being crowd-funded via Kickstarter, and as I'm writing this, it has 16 days to go... and has been 177% funded: People have pledged nearly $45,000, even though I was aiming for $25,000. Pretty incredible stuff.

I'm up to my knees in prototyping, electronics, manufacturing, sourcing, drop-shipping, and all manner of other technology and terms I've barely heard of before. Between you and me, it's bloody bonkers.

Anyway, I figured it would be only fair if I shared some of the Work-In-Progress photos with you guys, because (obviously), I'm rather ridiculously excited about all of this.

Triggertrap has caused an absolute media storm, being covered in most of the big gadget- and photography blogs.

As you might have gathered, this is taking up a fair bit of my time, hence the slightly reduced number of posts here on Pixiq - but don't worry, I'll be back and posting as usual in a couple of weeks.

Get a 40% pre-order discount on the Triggertrap

The Triggertrap currently costs $75 (+$5 postage) over on Kickstarter - once the project funds at the end of the month, the price will jump to $125 - so here's your chance to get a 40% early bird discount.

Want to get involved? Find out more about which cameras are supported, what the Triggertrap does, and pledge to the project over on Kickstarter.

Stay awesome, everyone!

~ Haje

Competition: Win a copy of my most recent book

I wrote this. I'm proud of it. Now you can win one of 5 copies!

So it turns out that my most recent book, Focus on Photographing People, has sold 7,000 copies in under two months. That, ladies in gentlemen, is reason enough to celebrate, so I've just jacked open a bottle of bubbly.

Then I decided I wanted to share the celebrations with you lot: With a competition!

If you want a chance of winning one of five copies of my, simply fill in this Google form. The winner will be drawn on midday GMT, Monday 25 July, and announced in the bottom of this post on that date.

Competition details

What: 5 copies of Focus on Photographing People, written by yours truly, published by Focal Press.

Why: 'Cos I wrote it, and I'm proud of it selling well.

Where: Enter the competition here!

Who: You have to live on Earth and have a valid mailing address to take part in this competition. You also have to be over 13 years old (or else I can't collect your e-mail address).

When: Before noon GMT on Monday 25 July, 2011.

Photographing in public: When the police gets it wrong


When they start reaching for handcuffs, something's gone a bit wrong.

A few days ago, I received an e-mail from a reader who had been through an interesting ordeal by the hands of UK police. They wanted a bit of advice, and I figured more of you might like to learn a little bit more about what happens when you are given a stern talking to by police about taking photos in a public place.

Also, let me point out right at the beginning that I'm not a lawyer, and that nothing in this post must be construed as legal advice - I'm merely a photographer who has a (probably more than healthy) interest in the aspects of the law pertaining to photographers.

Tim writes:

"I've been an amateur snapper for a while. I favour street photography but will snap most things if I find them interesting. I tend to visit events like steam rallies, street parades, music events and such as they are a good source of fun street shots, as a rule. At the weekend I decided to attend a car rally with the intention of snapping some old cars and bikes, and the people there to see them, plus the bands playing."

"All was well and good, it was nice day. I'd been there maybe a couple of hours and was thinking about leaving when I was approached by a police officer, who asked if he could have a word. Of course, I said. He told me, rather apologetically, that they'd received a call from a member of the public who was concerned I might have been taking 'inappropriate pictures'. I had to push him for him to add 'of children'. I wasn't overly shocked. I know numerous people this has happened to. There is a lot of suspicion among the ill informed, particularly stewards at such events. Officer asked if I'd have any objection to showing him the photos on my camera and I said no, of course not, feel free. He took camera and handed it to colleague who was in the police car which had drawn up."

Comments: A lot of people at this point feel they have done nothing wrong, and are more than happy to help police along. The thinking goes as follows: Police are people too, and if they take an interest in my photography (even if they have just accused me, indirectly, of being perverts), then it can't harm to show them the images.

Do remember, however, that a police officer demanding to see your photos is almost certainly on shaky grounds. There are a few laws under which they can do so, but the application of these laws is generally restricted to high-risk areas.

Tim writes...

"I was entirely confident I'd be on my way in a minute or two, once the images had been viewed and it became obvious I'd taken none, inappropriate or otherwise, of kids. First officer continued to be friendly and apologetic, and I assured him I understood the situation. I didn't point out that it's in fact entirely legal to take pictures of anyone in a public place, irrespective of age, as I do understand the genuine concerns some people may have in this modern world. However I was somewhat miffed as to how someone might have thought my behaviour was suspicious enough to call the police, considering I go out of my way to avoid taking pictures of children and am always entirely open about what I'm doing. Having taken tens of thousands of street snaps, I am yet to have my first run in with a person I've photographed, largely because I use my common sense don't go poking my camera anywhere just because I might have legality on my side."

Comments: There are a few important things to keep in mind here: If it's in public, you have the full rights to take photos of anything you can see. Police (or, indeed, anyone who so pleases), can ask you very nicely if you pretty please, with sugar on top, won't stop taking pictures.

It may be, for example, that you are at the scene of a horrific traffic accident, and a 9-year old boy has been badly maimed by a car. If the parents are present, and clearly deeply in shock and in discomfort about their son being photographed, police might walk over and say something like "Hey, mate, if you don't mind awfully, you're upsetting the parents a lot by taking these pictures, it'd be great if you could move along". It's up to you whether you decide to stop taking photos or not, but as a human being, you are, in my opinion, being a bit of a douche if you don't.

Tim writes...

"Anyway, driver gets out of car and I had a sinking feeling when I saw he'd left my camera in his car. I asked him if there was a problem and he replied, incredulously, that yes, of course there was a problem. 'There are lots of pictures of people on your camera. PEOPLE! Do you know them all?' I admitted the no, obviously I didn't. 'Then you don't take pictures of them, simple as that. You can't just go around in public taking pictures of whoever you want!' I was astonished by his obvious ignorance of the 'public places' law but remained polite as I pointed out that yes, I could, because photography in a public place (car show was held in a public place, not on private land) was entirely legal and street photography was an increasingly popular niche - and one of my street snapping buddies is himself a serving police sergeant."

Comment: Okay, this is where the police officer is quite clearly completely wrong about the law. You are, as Tim says, fully in your right to take photos in a public place.

This is where you realise that you are fighting a losing battle. Police officers, like everyone else, are some times wrong. If they mis-perceive a situation, it might be that you get arrested for something that you should't ever be arrested for. However, remember that the main reason why you get arrested in the UK is to 'allow a prompt and effective investigation'. At this juncture, you probably have three choices:

  • Delete the photos off your memory card
  • Encourage the police to contact their sergeant ('skipper') or inspector ('governor')
  • Get arrested, explain the whole situation at the police station.

Now, to go through these options in order:

Deleting the images is something you should only do as an absolute last resort. Police officers on the ground have no right to tell you to delete anything; any 'destruction' has to be result of a court order. That it's relatively easy to recover the images once they have been deleted is a separate matter, of course: If you are confident in your skills in image recovery, go ahead and delete them (don't format the card - just choose 'delete all'), and then recover them later; but this isn't something you should ever have to do.

In the UK, if a police officer tells you to delete something, simply refuse. If they make motions to delete something from your memory card for you, tell them to stop right away, and tell them that it would be illegal for them to do that. Technically, a police officer deleting images from someone's computer would fall either under criminal damage (a common law offence) or under "unauthorised modification of computer material" under the Computer Misuse Act of 1990. If they do delete your images, make sure you don't touch that part of the camera (fingerprints!), take their shoulder number, and go to the nearest police station. At the front office, make a formal complaint, and don't leave until you have a crime reference number. You'll probably have to hand over your camera, but make sure that the officer who takes it knows what has happened, and that the camera will need to be forensically analysed.

Encouraging them to seek advice is something you have to do carefully. Telling someone "you don't know the law you bastard, how about you call and ask your boss" will obviously come across differently than "Uhm, I think you may be mistaken, but it's a complicated piece of law. Is there any chance I could wait here whilst you call your superior for some advice?". If you do manage to convince them to call the boss, you'll probably be sheepishly let go, pronto; most sergeants have the sense to either know the law or to seek advice from the CPS (Crown Prosecution Service), at which point you'll be sent on your way. If you subsequently want to make a formal complaint (you probably should - formal complaints are taken very seriously, and cause a huge machinery to roll into action. At the very least, all the police officers in that borough will be given a stern reminder of the rights of photographers), that's up to you.

Get yourself arrested... Finally, if it all goes wrong, then tell them that you aren't going to give them your camera, and that you won't delete any images. Most importantly: tell them that you won't tell them your name or address. This means that they will have to arrest you to take it any further.

Now, in the UK, arresting someone is a long, drawn-out procedure, which makes police officers think twice about arresting someone, at least if they aren't completely sure if they have valid grounds for arrest. Once you make it to the custody suite, the custody sergeant will probably not even authorise detention, which means that you'll never see the inside of a cell.

Tim writes:

"The first, more civil, officer had by this time also viewed the pictures on the camera. I am pretty much certain if he'd been alone I'd have been on my way with an apology for the inconvenience and a thanks for cooperating at that point. But the driver was clearly determined to continue his tirade and not just let it go. He indicated to the first officer to take my details. I asked why they needed my details when I'd proved my innocence of the non-crime (I didn't actually say that) of snapping kids. Driver asked me if I wanted to be arrested. I have responsibilities and couldn't afford to be out of commission for hours or more so just gave the first officer my name and address and DOB, knowing I had no record of any kind and nothing to fear."

Comment: If this were me, at this point, I would have just let them arrest me. It'll be a few hours of inconvenience, but ultimately, if you're sure that you haven't done anything wrong, you have nothing to fear. It's worth remembering that 'getting arrested' sounds dramatic, but isn't punishment in itself: It is simply one of many tools in a police officer's toolbox. Getting arrested won't get you a criminal record.

Tim writes:

"People had been gawping as they passed by and I was now 'invited' to get into the car. 'Don't worry, you're going to be arrested,' said first officer. Of course I wasn't, I'd done nothing wrong, but the continuing detention was making the onlookers think something iffy was going on, when I should have been on my way long since."

"Got in car and first officer remained outside, on radio, checking details. Driver then said he'd show me what he had a real problem with. He brought up a picture of a woman sitting on the grass watching one of the bands. 'You've obviously seen her showing a bit of leg and decided to take a picture, haven't you?' I told him I was taking pictures of the audience in general. He repeated the question almost word for word, and I did likewise in reply, to which he said that I was really starting to annoy him with my 'innocent act'. He said I'd clearly come out with the intention of snapping young ladies. He brought up another picture of a young woman - this one was giving a sweetie to her dog. He laughed at the suggestion that I was focusing on the dog taking the sweet, not the girl. He ignored the obvious fact that around 300 of the 324 images featured elderly men, young men, middle aged men, singers and bands (male), some dancers (mixed sex, mostly middle aged), some people dressed in Roman costumes, about 130 pictures just of vehicles, some pictures of the sun on the sea, boats, a plane etc. None of the pictures were of things such as bums or cleavage close ups. There was nothing on there that I wouldn't have been happy to show anyone, including kids or nuns or the people who appeared in the snaps."

"There then followed a 15 minute lecture from the driver about how wrong taking pictures of people was. He again said people had a right to privacy in public places. He made a big deal of a picture I'd taken of a woman drinking champagne on a balcony of a house overlooking the rally site. He said her husband would be within his rights to 'fill me in'. Her husband (or partner) had in fact raised a glass cheerfully to me when I'd taken the shot, though he wasn't actually in the shot. I could still see them up there and said he could ask them if they objected. He completely ignored me. Finally the other officer got back in the car and confirmed that I didn't have record, wasn't a known danger to the public/kids, wasn't on the run or wanted etc."

"But the driver wasn't done yet. He said that image of the woman sitting on the grass 'showing a bit of leg' could amount to indecency. If there had been 'three or four' such images in a series, I'd be under arrest and would be placed on the sex offenders register. Did I want that? Did I want my life ruined?"

Comment: Oh, wow, that's showing another pretty grim misunderstanding of the law. The Indecent Photographs thing the officer is speaking about in this case falls under S1 of the Protection of Children act 1978 as amended by S85 of the Criminal Justice and Public Order act of 1994 and s45 of the sexual offences act of 2003. It states that it is an offence to "take, make, or permit to be taken; Show or distribute; Possess with a view to distribution; Publish any indecent photograph (i.e. an image in any form) of a child (a person under the age of 18)". The discussion as to whether the woman was acting 'indecently' is irrelevant if she doesn't appear to be under 18 - and I think most people would agree that anything you see on an average beach (with the exception of 60 year old men wearing Speedos) cannot reasonably be argued to be indecent.

Tim's e-mail continues with several more thinly and not-so-thinly veiled threats, but it all ended well:

"Eventually I was driven back to my motorcycle and told that they'd wait over the road and make sure I left the area 'for my own protection'. Which I did."

Comment: Obviously, I have only Tim's side of this story, as I haven't been able to speak to the officers in question. If everything happened the way he perceived it, it appears that he has run into a copper who was having a ludicrously bad day - and a formal complaint may be in order.

There are a lot of lessons to be taken away from this encounter, however. A good exercise for photographers who take photos in public places, for example, would be to go through the account above, with the thought 'What would I have done in the same situation' - in the knowledge that this could very well happen to you.

You could do a lot worse than reading up on your rights of taking photos in a public place in the UK, Australia, Canada, New Zealand, and the US (and those of your local country, of course), and to be aware of the rights you have to your own images.

Finally, if you do get 'hassle' from the cops, stay calm, but stand your ground. There's nothing wrong with taking a few deep breaths and giving an eloquent reply instead of blurting out whatever you are thinking. Ultimately, police have more important things to worry about than a photographer minding his/her own business, but it could be (like in this case) that the odd police officer have their own axes to grind. The best way to dodge out of that is by asking them to take advice from their bosses, and to stand your ground.

How about you?

So - have you ever had any nasty experiences whilst out taking photos? Leave a comment below and tell us about it!

Real-life cloning


Every now and again, I stumble across something that makes me 'wow' out loud. Much to the confusion of my fellow bus passengers, no doubt. This was one of those things...

It turns out that a small team of science boffins have been able to create a live (well, as good as live. I think we can live with a 40 millisecond delay) object-cloner for use in video.

I know they use stuff like this in special effects in movies all the time, but seeing it happen right in front of your eyes is a whole 'nother level of magic.

Enjoy:

Flickr's Favourite Camera and How it Really Doesn't Matter

Disgustingly, I took this using my phone. Is it a photograph? Yes, yes it is.

A follow up to a recent TechCrunch article caught our eye here at Small Aperture. The essence of the articles is as follows – the iPhone 4 is dominating Flickr stats as Flickr’s most used camera. The tone taken seems to be one of pure dismay, the Instagram app being the currently favoured target of demonisation. The suggestion is that the saturation of images taken using a camera phone is indicative of “the state of photography right now”. Personally, I am not convinced this is a bad thing.

With the advances in technology over recent years, those who could be classed as “casual photographers” have been able to enjoy the freedom of taking a photo using their phone, adding a few fun effects to it, and uploading it to Flickr, Facebook and other such social community sites to share with their friends incredibly easily and quickly. This upsets some, who feel that photos should only be taken with a “proper” camera, and that to take an image with a smartphone, upload it to Flickr, and have some of your friends praise it, even though you don’t even have an official photography degree or qualification of any kind, is a terrible insult to and a threatening encroachment upon our precious medium.

Passive aggressive sarcasm aside, my point is that I really don’t think it matters that a smartphone camera is at the top of Flickr’s most used stats, whether you’re of the opinion that Flickr is being used incorrectly or whether you’re seeing it as representative of photography’s general decline. In actual fact, I feel there are several positives to draw out of the significant increase in casual photography. Yes, I’m going to begin addressing them now, in a new paragraph which is coming up next. Seamless.

Disgustingly, I took this using my phone. Is it a photograph? Yes, yes it is.

First, it could be argued that the increase in the use of smartphones as cameras has shifted the market and helped to create better defined demarcations between the “casual user”, the “enthusiast” and the “professional” photographer. At one time, anyone with a passing interest in photography and a disposable income would have grabbed themselves a higher end point and shoot or even an entry level DSLR or bridge camera. These would be used purely for better quality family snaps, in anticipation of travelling abroad to document their time visiting various countries or, god forbid, to pursue it as a casual hobby, for fun. This still happens, of course, but now there is a greater degree and freedom of choice for people who enjoy dabbling in photography but can’t or don’t want to spend too much money. I can’t see how this is a negative development. Unless you hate people.

Essentially, we are witnessing the birth of the next generation of photography snobbery. The first generation (sadly still lingering, grumbling in the corner with its slippers and pipe) are the “film is just better” crew. It’s not photography if it’s not film, digital is cheating, I miss inhaling dangerous chemicals and so on. There is a place for both film and digital photography. Film is absolutely beautiful and has that romantic, inimitable quality to it, but when digital came along it brought photography to a brand new audience of enthusiasts and professionals, expanding and developing the medium. This is happening again: we will see photography tackled in new ways and artists will pick up and find a way to embrace the advantages new technology brings.

Another plus to introducing new people to photography is the overall increase in appreciation of the medium. The more commonplace it becomes, the more accepted it is, and we will suffer fewer problems down the line. It’s a bit like one of the other largely demonised interests in my life – videogames. Since the Nintendo Wii came along and introduced casual gaming to a massive new audience, when someone notices a games console in my house, they no longer immediately consider me a dangerous recluse who spends all his time dreaming up violent fantasies, entrenched in his own filth in a basement somewhere, not eating for fear of losing precious gaming seconds (I save all that for weekends). Similarly, the stigma and prejudices aimed at photographers, of which there are many, will start to soften and melt away.

An image from Michael Wolf's "Paris Street View" series, taken by photographing and cropping an image found using Google Street View. See more of Michael's work here - http://www.photomichaelwolf.com

The important thing to take away from all this is that it is problematic and dangerous to hold the stance of “the better the camera, the better the photograph”. Photography should be seen as independent of the equipment used: for me, photography lies in the intangible essence of what you are trying to achieve. It’s about composition, choice of subject, timing and the story you tell by combining all these elements. A stunning example of this is a series of photos that have caused significant controversy this year – a series of images taken using Google Street View by Michael Wolf (link to a February BJP article here). I won’t go into depth on my thoughts of it here, that’s for another article, but I admire the thought process behind this series and applaud it. The outrage caused is most likely the same outrage from those who are upset by the increased use of smartphones being used to take photographs.

This all reminds me of the story of a good friend and fellow photographer of mine. He was once complimented on one of his images by an unwitting fan, who had no intention to offend by any means: “wow”, he enthused, “you must have a really good camera!”.

Visibly disgruntled, he replied “yeah, and Shakespeare had a really nice pen”.

Ssssh! It's the new Leica M9-P


Just got a whiff of the newest addition to the Leica line-up - the ultra-discreet version of the Leica M9 - but this time, aimed at professionals who love taking photos on the sly. It even loses the red logo, for extra stealth!

Here's what Leica had to say about it...

Leica Camera AG is proud to present a new version of the world’s smallest, full-frame digital system camera: the Leica M9-P. This new model will sit alongside the Leica M9 in the company’s rangefinder portfolio. Providing an alternative, even more discreet and resilient design that further reinforces the classic nature of the M9, the M9-P specifically meets the needs of professional photographers. The new model is now available in a classic silver chrome or subtle black paint finish.

Featuring the compact size, full-frame, 18 megapixel 24 x 36mm sensor (35mm format), sophisticated image processing and robust construction of the highly successful Leica M9, the M9-P also incorporates features designed for professional users or photographers who prefer a pure, even more unobtrusive styling.

The Leica M9-P includes a scratch-resistant, sapphire crystal covering on the LCD screen. Produced using special diamond cutting tools, this screen is fashioned from one of the world’s hardest and most resilient materials. Extremely resistant to wear and almost unbreakable, the sapphire glass LCD cover offers many years of reliable use. Additionally, the anti-reflective coating on both sides of the cover improves the review of images on the display after capture, particularly in unfavorable lighting conditions.

Finished in vulcanite leatherette, the external covering of the body of the M9-P is particularly resistant to wear. This leathering features a more coarsely-textured finish that ensures a steadier grip when shooting, making the M9-P feel particularly safe and secure in the hand.

Fulfilling the needs of many professional photographers to capture the decisive moment as discretely as possible, the Leica M9-P’s minimalist styling highlights its most essential features. The Leica red dot logo and the M9 lettering on the front have been omitted and replaced with the Leica name in classic script form engraved on the top plate, making the M9-P the quintessential unobtrusive tool.

The functions of the Leica M are consistently constructed for extreme durability and a long working life. The highest quality materials, intricate manufacturing processes and meticulous manual assembly at Leica Camera’s facility in Germany guarantee functional reliability for years to come.

The Leica M9-P will be available from Leica dealers in two different finishes, black paint or traditional silver chrome, beginning July 2011.

Wanna see more? Not to worry, I have a full gallery of photos of the delicious-looking Leica M9-P!

Equipment for sports photographers


Sports photographers must record fast action, sometimes in unpredictable light, often from a distance, and regularly out of doors, where weather can be a factor. Sports photography is very gear intensive, so here's a guide to what you ought to be looking for.

screen_shot_2011_06_21_at_085609.jpgCamera. Perhaps more than any other photographic discipline, sports photography requires a higher-end dSLR camera. Specifically, look for a camera that can capture at least four frames per second, has a buffer capable of holding at least 15 images and supports track- ing autofocus. Most dSLR cameras sold today support an ISO of 1000 and beyond and 1/4000 shutter speed or faster, which is plenty sensitive and fast enough for sports photography purposes. If it’s in the budget, and if you know you’ll be shooting in snow, near the water, or at outdoor events in which weather may be a factor, opt for a water-resistant camera, or even under- water housing for your camera body.

Lenses. Depending on where you are relative to the action and what type of shot you want to compose, you will need different types of lenses. For example, if you’re photographing a baseball game and you want to capture the entire field, you’ll need a wide-angle lens. To focus on a single player, or to isolate your object from the background, you should opt for a telephoto lens. Alternatively, use a fish- eye lens or a selective-focus lens for very dramatic images that exaggerate the scope of the environment or create other interesting effects. With cost being a major factor, many people opt for a variable aperture lens such as the 70–300mm f/4–5.6 rather than the 70–200mm f/2.8 for field sports. When starting out it’s a good idea to be prudent with both your budget and your photographic expectations.

Filters. If you are shooting an outdoor sporting event in bright sunlight, attaching a graduated ND filter onto your lens can help to balance overexposed areas of sky. You can use UV filters to cut through haze, which is sometimes a factor in outdoor competitions that take place in large urban areas. Many photographers also use UV filters to protect their lenses from potential scratches and marks.

screen_shot_2011_06_21_at_085615.jpgMonopod. Especially if you are working with large, heavy lenses, a monopod can help you steady your shot, not to mention alleviate arm fatigue!

Protective gear. When shooting outdoor events, your camera is vulnerable to the elements. Using protective gear, such as covers for your camera and lenses, on a shoot can shield your equipment from such hazards as rain, snow, spray, and so on. Waterproof camera housings are also available.

Viewfinder Hood. If you are shoot- ing in harsh light, for example on the water or on a snow-covered mountain, it can be difficult if not impossible to see your LCD screen. Using a small rubber or plastic hood to view the screen can make it easier to see.

Bags. A rolling equipment bag is great for carrying gear to a shoot. A large fanny pack is also handy for holding your gear during the event.

Bulb blower and brush. Especially if you are shoot- ing somewhere dusty, such as at a horse track or a motocross event, you’ll need tools to clean the dust from your lenses and your image sensor.

Big Glass, Fast Glass

Unlike most amateur and semi-pro sports photographers, who typically use zoom lenses because of their relative versatility, some pro photographers — especially those who specialize in field sports such as football, where the action may be occurring some distance away — use very large (400mm or 600mm) fixed lenses. These lenses, called “big glass,” feature near- perfect optics and carry a hefty price tag. Unless you’re shooting elite or pro sports for which distance is a factor, they’re probably overkill.

In addition to big glass, some photographers also use lenses described as “fast glass.” A fast-glass lens is a zoom lens with a large aperture. Lenses with large apertures allow more light to pass through, enabling you to use a faster shutter speed. As such, fast-glass lenses generally allow for better shooting in low-light conditions. For example, a 70–200mm f/2.8 lens, or a 16–35mm f/2.8, or a 50mm f/1.8 lens.

screen_shot_2011_06_21_at_085750.jpg

Image Stabilization

Image Stabilized lenses (also known as Vibration Reduction) can help you reduce or eliminate out-of-focus shots caused by using a long telephoto lens, shooting from a distance, and/or employing a lower shutter speed due to low light.

Motorized sensors inside the lens detect small vibrations and shift the internal lens element in the opposite direction so it cancels out the motion, resulting in sharper images.

About the book

This is a short extract from Erin Manning's most recent book, Make Money with Your Digital Photography. I have a copy, and it's a great book indeed, full of tips, advice, and fantastic photos throughout. Well worth a closer look!

Unique for this book, as well, Manning features interviews by expert photographers for each chapter. In this one - the sports chapter - for example, she features two successful, yet very different sports photographers; Reid Sprenkel is an amateur sports photographer and Serge Timacheff is the chief photographer for the International Fencing Federation.

Most big book shops worth their salt will have a copy or two on the shelves. If they don't it may be that they have a couple of books tucked away under the counter. Smaller book shops should be able to order you a copy - all you need is to give them the ISBN number (It's 978-0470474310), and they'll sort you right out.

If you're one of those high-tech types, you should be able to get a copy of the book from Amazon.com or Amazon.co.uk - Enjoy!

Fancy giving Brett Ratner a hand?


Brett Ratner, a successful Hollywood director, producers and photographer (You can stalk him over on IMDB, if that's your thing), is inviting aspiring photographers to work with him on a photo shoot with Treats! Magazine in Los Angeles.

Interested? All you need to do is to submit one original portrait photograph displaying your creativity for the chance to work with Brett. The winner will work with Brett on a Treats! photo shoot to learn invaluable advice from an industry professional.

The shoot will take place in Los Angeles and will be featured in the 3rd issue of the magazine and will also be credited in the same issue. Travel and two nights' accommodation will be provided.

The 5 highest voted submissions will each receive a signed copy of a Rat Entertainment DVD and a year long subscription to Treats! Nifty stuff.

Find out more and sign up over on the Talenthouse website!

Panasonic launches the Lumix GF3


Just five days after Sony launched its diminutive NEX-C3, claiming it to be the smallest, lightest camera in its class (so that’d be without a mirror but with interchangeable lenses), Panasonic has wheeled out the Micro Four Thirds mount Lumix GF3 to wrest from it the crown of tininess. The camera doesn’t look that bad, either.

It comes with just about everything that you’d expect from a shiny new camera now. There’s a touch screen that allows you to pick your point of focus with the tap of a finger; there’s full HD video (1080i at 25 frames per second) that comes with full-time auto-focus and auto-focus tracking; there’s a range of in-camera editing facilities, such as retro and high-key; and of course there’s the all-singing, all-dancing intelligent auto plus function. The camera will choose the right mode for the picture, there’s anti-blur technology a-plenty, and a face recognition doo-dad.

If you want to have a go at 3D photography, there’s a lens for that, too.

At 12 megapixels, it seems as if Panasonic might be calling a truce in that particular arms race. Okay, so things might’ve switched to how small they can make things now, and it might get old pretty quickly, but for now it’s more fun.

Want one? They’re available in four different colours for £499 (US$599.99) with a 14-42mm kit lens from mid-July.

More details available from Panasonic.

Police fail: Copyright? What is that?


Great against street crime. Apparently less so in copyright matters.

I was doing some research on various topics a while ago, and stumbled across a rather disturbing find. On a site run for and by police officers (specifically, the Special Constabulary - a voluntary police force, whose members have full police powers, including the power of arrest), there's a forum called 'news', where its members post news stories related to policing in the UK.

The interesting case from the perspective of copyright law is that the forum members routinely break the law by infringing the copyrights of the news organisations publishing the news stories.

Examples

All the below posts were posted not by 'ordinary' forum users, but by users who have a badge marking them out as 'serving police officers'. To get that badge, you apparently have to identify yourself to the forum moderators as a bona fide UK serving police officer.

The below are only the articles posted by serving police officers (there were also a lot of ones posted by people who haven't identified themselves as such), between June 1 and June 12th of 2011.

  1. Young PC arrested over 'death threats', with text from the Kensington & Chelsea Informer.
  2. Epsom Derby racegoer injured as train is stopped, with text from BBC News
  3. 2012 Olympic torch police counselling, this time with text from BBC News.
  4. PC Attacked 'Urinating French Tourist', with text from BBC News.
  5. 'Shooting' near submarine HMS Astute in Southampton with text from BBC News.
  6. Cable Burns Man 'Unrecognisable', with text and images from BBC News
  7. Inspector Admits Wife Assault, with text and images from BBC News
  8. Shocking!, with text and images from the Daily Mail
  9. Sentencing plans scrapped with text and images from the Daily Mail
  10. Babar Ahmad police officers not guilty of assault, with text from BBC News.
  11. "Finally, a judge who gets it", with text and images from the Daily Mail
  12. Sneak(er) Thieves with text from the Daily Mail
  13. Police 'could have prevented' Braintree Murders with text from BBC News
  14. PC (ex-Mr. Gay UK) Denies Rape Of Man, with text from BBC News.
  15. Thieves quit crime to claim benefits, with text from the Sun.
  16. GMP officers seize Mitsubishi Lancer, then write it off with text and images from BBC News.
  17. Gatwick Custody Officer paid compensation, with text from BBC News.
  18. Huddersfield woman ‘buried alive’ in woods by partner, with text from the Huddersfield Daily Examiner
  19. Metropolitan police officer sacked over texts to girl with text from BBC News.

But, isn't this fair use?

In short: no.

In long: In order to fall under fair use under UK copyright law, as far as I understand it, it has to be "Research and private study" (not applicable here), "Instruction or examination" (again, not applicable), "Criticism or review" (This would be the most likely contender in this case, but most of the posts are merely copying the original source, with no in-depth criticism, review, or analysis of the original piece), or "News reporting" (not applicable, as the news is already reported by the original source - copying it wholesale is not 'reporting'), or "Incidental inclusion" (not applicable).

Embarrassing.

In other words, each of the above posts break UK copyright law. Doubly embarrassing, then, that the lawbreakers in question are all police officers.

It would appear that the discussion of copyright has already happened on the Police Specials forum back in January of 2010, where one poster writes: "Given the nature of the site, I think we need to be quite careful about breaking the law" and "A better solution would be if we wrote a synopsis (or copied the first 10-20 words or so) and then linked to the original source - that way, there's no risk of any issues.".

In the long discussion that follows, it doesn't appear that the police themselves (or, at least, the small sub-section of police that post to this particular forum) understand how copyright works, or how it is meant to protect publishers, authors, and artists.

I suppose that if even a forum full of police officers doesn't grasp the basics of copyright, it's hardly a surprise that I'm finding copyright infringements on my own articles left, right, and center. Not surprising. Just a little depressing.

The pictures associated with this post are for illustration only, and were purchased from iStockphoto.

Further Reading

This is part of a 4-story series:

  1. What is copyright, and how do infringements harm you?
  2. Protecting your copyright in a Digital World
  3. Just because it's in my RSS feed, doesn't mean you get to steal it
  4. Ignorance is no excuse

In addition, you might enjoy Police Fail: Copyright, what is that? and Even Schools Don't Care About Copyright...

Learning from the pros on YouTube

Earlier today, I was catching up on my RSS reading and dipped into Search Engine Watch (Yeah, I have a dark past working in SEO, and I like to keep an eye on recent developments), when I found a post about the recent Google Doodle - and how it caught the eyes of the world, where all sorts of talented people decided to play the ridiculously low-tech instrument (I mean... Who plays a search engine? Rage against the Machine's Tom Morello - that's who). It rekindled my passion for Youtube, and I decided to have a look around and see if I could find any good photography video tutorials. Turns out that was easy to say and even easier to do...

Ladies and gents, without further mincing of words:

Rick Sammon's top 10 photography tips

Night photography

Full photography school

Episode 1:

Also, see the full 13-episode series here.

Light painting tutorial

Make your own macro lens

Make Magazine made a great little video tutorial of my Macro Photography for £10 article:

Wedding photography

Photoelasticity Birefringence Photography

Using a softbox

High key lighting setups

A great stop motion inspirational movie

So there we have it - a metric load of fabulous learning, inspiration, and general fun on YouTube. So the next time you're stuck for inspiration, why not just search for 'photography' on YouTube, and see what it spits out? You never know what you might learn by accident...

Your photos - Your rights


Photo licencing can be a minefield. (see what I did there?)

In the immediate aftermath of the TwitPic photo-selling furore it became clear that there can be a great deal of confusion regarding terms and conditions (T&C), terms of service (ToS), terms of use (ToU), or any other terms that you have to agree to when you sign up to any kind of photo-sharing oojimaflip.

When it comes to ToS, the devil is most definitely in the detail, and at one of our reader's request, I've put together a guide to what to look for. As ever, I have to state that I'm not a lawyer; all I have to go on here is my own experience of using photo-sharing sites and, heaven help me, previous experience of drafting ToS.

Copyright and licensing rights

The first thing to get straight is that there's a difference between copyright and licensing rights. If you take a photo (or compose a song, or write a story... you get the picture) you own the copyright to it. That means you have the right to have that photo attributed to you and you can say how, where, and when you want it reproduced, if at all.

On very rare occasions, you can sign away your copyright to your creation - and in fact I did this quite recently when the copyright of a project that I wrote was attributed to the company for whom I completed the contract, not to me as an individual - but it's usually in very specific circumstances.

Licensing rights, on the other hand, are what you, as the copyright holder, use to allow people to use your images (or your words or your music &c). If someone wants to publish your photo, you provide them with a licence to do so. There are a plethora of different types of licence out there, which serve different purposes, allow different things, and have different implications for you as a copyright holder. Hence the confusion.

Why you need a licence

You've been away on holiday to Mauritius and you have a selection of the most incredible photos showing the places that you visited, the food that you ate, and the sights that you saw. You want to share them with your family, your friends, and to be honest, anyone who wants to take a look because you're really proud of a few of them. So you sign up to the photo-sharing website SooperPix that'll let the world at large marvel at your artistic genius.

You have to sign a licence. You own the copyright to these pictures, which means that you have to grant SooperPix the right to display them on your behalf. If you didn't, it wouldn't be able to host them on the website and let the world look on awestruck at your awesomeness.

Read More

This post is an extract of a post by Daniela over on Small Aperture. For the full article, read Your pictures; your rights, redux. You can read more of Daniela's writings over there, too.


Do you enjoy a smattering of random photography links? Well, squire, I welcome thee to join me on Twitter -

© Kamps Consulting Ltd. This article is licenced for use on Pixiq only. Please do not reproduce wholly or in part without a license. More info.

Looking death in the eye


Which photos are suitable for publication? And which aren't?

When the news broke that Osama bin Laden had been killed in a raid on a complex in Abbottabad, Pakistan, by a crack team of US Navy Seals, there seemed to be two main questions: one, how on earth had the Pakistani authorities not noticed his presence; and two, when would the White House release photographic evidence of bin Laden’s death?

I’m not going to speculate on the issue of the Pakistani intelligence service. This is a photography news site, after all. (Although it is always worth remembering that one of safest places to hide anything is in plain sight.) But I followed with interest the unfolding saga of the images, from the fakes to those of other people killed in the raid. Initially, my opinions were on the ambivalent side of ‘they probably shouldn’t release a photo of his body’. But they gradually began to solidify into a more definite, ‘no, they really shouldn’t’.

I recalled the furore, and indeed my own sense of disgust, when images of Saddam Hussein’s sons’ battered faces were splashed across newspapers in July 2003. The release of those photographs was intended to reassure those who were nervous or to prove to those who were sceptical that they really had been taken out. But those images either didn’t or didn’t need to prove anything. People who were fearful would not feel safe until they actually were safe; people who were sceptical would remain so, picture or not.

Now, as then, the rhetoric remains the same. A photograph of bin Laden’s body will not satisfy anyone who doubts that he really is gone; there is enough distrust in the motives and the modus operandi of the White House administration to render a photograph very flimsy evidence indeed. For anyone who does believe that he’s gone, a picture is hardly a necessity. But the significance of whether bin Laden is gone or not doesn’t rest in a photograph; it’s in the consequences of the operation, and how people react to it.

The more that I thought about it, the more that I could only see an image of bin Laden’s body becoming a grotesque and vaunted hunting trophy. This is not what evidence is supposed to be and the degradation of another human being to that extent seeks only to brutalise us as people; it takes us a long way from justice.

No, that image was best kept under wraps.

Then something happened yesterday that made me see things from a different, and more intense, perspective. Wouter Weylandt, a Belgian professional cyclist who rode for the Leopard-Trek team was killed on the descent of the Passo del Bocco in the Giro d’Italia. According to the reports, it was an horrific crash that shattered his skull even with the protection of a helmet. And out of respect for his loved ones, the specialist press and quite a few of the major news outlets aren’t carrying photos of the crash. Try Cycling News; try Cycling Weekly; try the BBC; try even Reuters. Yes, that very Reuters that bayed for pictures of bin Laden’s body and showed images of the other men shot in the Abbottabad compound.

From a news perspective, these are two very different scenarios. We are comparing the death of the man dubbed the world’s most wanted with that of a 26 year old sportsman. They are universes apart in terms of international impact. Yet they have their similarities, too.

Aren’t they both some mother’s son?

Dehumanising bin Laden might, somehow, enable us to rationalise his actions and his ideology, but he didn’t spring fully formed from the whirlwind of Eris. No, he was flesh, and blood, and bone, and he had a family. Regardless of how I view bin Laden and his contempt for human life and dignity, I’m struggling to justify treating his family any differently from that of Weylandt’s. He chose his career path, a high-risk one of brutality, destruction, and grief with the potential of a savage end; but his family did not. However you choose to interpret bin Laden’s death – a gross violation of political sovereignty and a political assassination, or a valiant act of redemption – his family does not deserve to suffer the indignity and humiliation of seeing their son’s, brother’s, or father’s bloodied and broken corpse spattered across every newspaper and screen on the globe.

Weylandt knew the risks of his profession; cycling, just like a lot of other sports, is a dangerous business. He met a tragic and untimely end doing what he loved and in the knowledge that it might just possibly turn out that way. Yet the press has thought better than to make his family deal with shocking and distressing images of the crash whilst they’re wading through torrents of catastrophic emotions.

The goalposts appear to be different here and I’m not sure if the choices of individuals can justify such disparate approaches when it concerns the treatment of their families. No one exists in isolation, and we, as photographers, should be aware of the bigger picture.

Very little in life, or in death, is governed by absolutes. To say that no images of death should ever be published would be a foolhardy statement; we would be setting ourselves up for a monumental fall there. But I am convinced that we should always default to a position of restraint and respect, if not for the subject of the image then at least for those with whom she or he shared a life. Humanity will thank us for it.

News in brief: The super-big medical CMOS sensor

Yesterday the world’s tiniest medical camera had its five minutes of editorial fame; today it’s the turn of the world’s largest CMOS sensor that’s basking in the lime-light. It’s been called DynAMITe (Dynamic range Adjustable for Medical Imaging Technology) and is 12.8cm square. It’s about 200 times bigger than your average computer chip.

It’s been developed by the brainy peeps at the University of Lincoln. The idea is that it should aid detection of cancer tumours and better chart their responses to radiation. More brainy peeps at the Institute of Cancer Research and the Royal Marsden Hospital are looking at how to make it even more effective. Not sure when it’ll reach hospitals quite yet.

(Headsup to Engadget)

What is this? - In our NewsFlash section, we share interesting tidbits of news. Think of it as our extended twitter feed: When we find something that get our little hearts racing, we'll share it with you right here! Loving it? Great, we've got lots more News Flash articles - and, of course, we're still on Twitter as well, for even shorter news tidbits.

The difficult job of the police in the UK.

Imagine the following scenario: You're a police officer, part of CNC (Civil Nuclear Constabulary) team. This is a national specialised police service (one of the few police services in the UK that are routinely armed). Your role is the protection of civil nuclear sites and nuclear materials.

One morning, in your morning briefing, you are alerted that today's a pretty special day: Hours before, Osama Bin Laden has died in an operation by the US military, and there's an increased terror alert.

You go through your business of getting kitted up as usual, take one last look at the picture of your wife and kids, and head out to patrol the grounds outside Sellafield, the site of an accident in the late 1950s, and plenty of controversy since then. You're used to protestors of all types, including anti-nuclear protestors, environmental activists, and the occasional nut-job. But most of all, you are on the look-out for people who can turn the Sellafield plant into a huge dirty-bomb: A large enough explosion could cause devastating nuclear fall-out across much of the UK, and with the wrong wind direction, the nation's capital - only 230 miles away from the power station - could be in peril.

In addition, you've been reading the internet, and information revealed by WikiLeaks last week included threats from a terror suspect interrogated at Guantanamo Bay who spoke of al Qaida unleashing a "nuclear hellstorm" on the West if bin Laden was ever captured or killed.

Needless to say, as one of the uniformed, armed police officers tasked with standing between the nutjobs and the nuclear materials, you take your job very seriously, and you are happy to use all the laws you have available to you to help protect this sensitive site.

Then, in the late afternoon, you notice a car pull up on the road leading to the nuclear plant's main entrance. The car contains five men, all appearing to be of Muslim origin, and they are using a video or stills camera, filming the site. Obviously, you and your colleagues go out there to have a chat with the men, who are all in their 20s, to find out what they are up to.

It turns out that the men are from Romford, in Essex, a town about 10 miles north of London, and that the five men are from Bangladesh - a country whose population is about 90% Muslim.

When questioning them, you discover that they are 250 miles away from home, and that their only explanation is that their sat-nav system took them the wrong way.

In a state of already heightened security, you decide that their story doesn't really seem to make any sense, and you arrest them.

What would you have done?

As a photographer, I'm always torn by stories like this: Yes, I believe in full freedom to take pictures and video of whatever you want, wherever you want, whenever you want. I'm a photographer - freedom to take pictures is a big deal to me. I'm a journalist - freedom to publish whatever I want is an equally big deal. And it is. In the UK, it's guaranteed through law, as the country has ratified the European Convention of Human Rights, where section 10 protects the right to free expression.

However, another part of me is suspicious. Given the scenario above, I would have done exactly the same thing as the arresting officer in question: Find out what's going on, and if you're not satisfied with the explanations, make an arrest, start an investigation, and find out what's really going on. When you're at a higher state of alert due to circumstances, you're not going to be in a place to take any chances.

As it turned out, the five men were probably innocent of anything except carelessness, if not idiocy. Five people in their mid-20s, who fit the profile of a high-risk demographic, piled into a car, 250 miles away from home, video-taping a sensitive nuclear facility, without a reasonable-sounding explanation? If you're following the conventional approach to 'avoiding trouble', well, I guess most of us can agree that you've made an impressive amount of talent for bone-headed moves.

What would you have done?

It's a balance

Don't get me wrong - I think it's daft when people get arrested for taking photos, but it seems as if the police as an institution is cottoning on, as well: the official Photography Advice from the Metropolitan Police, for example, states that "[we] recognise the importance not only of protecting the public from terrorism but also promoting the freedom of the public and the media to take and publish photographs", and "Members of the public and the media do not need a permit to film or photograph in public places and police have no power to stop them filming or photographing".

If someone gets arrested or harassed by the police for taking photos or video, I think it's only fair that photographers cause a huge stink - but if you're keeping an eye on stories like these, you'll notice that, in the UK, they are fewer and further between as time goes on. The UK is, slowly but surely, becoming a better place to be a photographer, not least due to campaigns like the one by Amateur Photograher, where they gave away lens-cloths with photographer's rights on them to help raise awareness of what you can and cannot do when you're out and about with your camera, but also because the police itself is putting more effort into educating its own officers about how to apply the law, and how to deal with photographers in general.

By all means, join the fight for photographer's rights, but pick your battles with a modicum of care: I don't really see the use in vilifying police for doing their jobs in a way that everyone else would have done it, given the circumstances: Within the law, and within common sense.

Disclaimer - I'm a police constable and photographer based in London. The above (as all my posts) are exclusively, 100% my own opinions, and do not reflect in any way the official stance of the Metropolitan Police.

Sources - Men arrested outside Sellafield released without charge, Sellafield terror suspects released, Five arrested near Sellafield held under terrorism act,


Do you enjoy a smattering of random photography links? Well, squire, I welcome thee to join me on Twitter -

© Kamps Consulting Ltd. This article is licenced for use on Pixiq only. Please do not reproduce wholly or in part without a license. More info.

Obituary: Tim Hetherington

Portrait of Tim, copyright Matt Stuart.

It is with great sadness that we report the news that Liverpool born British photojournalist Tim Hetherington has tragically been killed whilst covering the conflict in Libya.

Tim studied literature at Oxford University, later returning to college in order to study photojournalism. He was a fearless and admirable photojournalist, famous for his long-term documentary project work: Tim lived and worked in West Africa for eight years and reported on social and political issues worldwide.

Portrait of Tim, copyright Matt Stuart.

Tim was not only a photojournalist but also a film maker, his directorial début being Restrepo – a documentary following a platoon of soldiers in Afghanistan. It was awarded the Grand Jury Prize at the 2010 Sundance Film Festival.

Unfathomably brave photojournalists like Tim ensure that the truth of faraway conflicts and incidents is told and not simply seen as a statistic or an abstracted headline. I won’t do Tim an injustice by attempting to analyse his work beyond this: his images are both incredible and incredibly important.

There are many, many quotes and statements to come out of this tragic incident but we’re going to go for a very simple one at Small Aperture. Tim was a regular contributor to Vanity Fair magazine and photo director Susan White said that she would always remember his ‘magnificent, warm smile’.

We must also take time to remember similarly incredible photojournalist Chris Hondros of Getty Images, who also died in the attack.

Take a little while to learn more about Tim today:

Tim’s Website

British Journal of Photography’s Report

Guardian Article

Parting Glance: Tim Hetherington – Article by The New York Times

Daily Mail Accused of Stealing Image from Flickr

ccomms

Last week, the British Journal of Photography posted an article explaining that photographer Steve Leachan had discovered that the Daily Mail and Mail Online had delved into his Flickr account and used one of the images therein without his knowledge or permission. Steve had uploaded the image to his Flickr account under an “All-Rights Reserved” notice. Not only that, but it also appears that the watermark on the original uploaded image had been removed using the clone stamp tool.

An update was posted the following day to indicate that photographer Vicky Tuff had been in touch with BJP to inform them that she had suffered from copyright infringement by the Daily Mail. The BJP article was updated again yesterday, on the 18th of April, when Nicholas Smith got in touch to say that one of his images had also been used without permission in the very same Daily Mail article.

This is the latest in a growing number of cases BJP has reported of the Daily Mail taking images and using them without the photographer’s knowledge and / or permission: it’s sickening and infuriating.

Once the bile stopped bubbling and boiling inside me (although that could’ve been the waffles and coffee I had this morning) and I had some time to reflect, one question arose in my mind and is now floating there, dead centre, white on black: why are photographers treated like second class citizens?

If it isn’t our images being used without our permission, without credit and without pay, it’s being hassled by authorities in the street for taking photographs in a public place. As a freelancer, I’ve had my share of horror stories in the past and have heard many from colleagues and fellow photographers. A couple of years ago, I had a most unpleasant experience with a client who I did some work for in exchange for credit and exposure. When it came to it, the client flat out refused to credit me for my work. I informed them that I wouldn’t be releasing the images to them if they weren’t happy to put any kind of credit on the images and an angry torrent of abuse ensued from said client.

With copyright law being so gleefully abused by major organisations, it's important that we stand up for ourselves.

Add that to the dozens upon dozens of stories I’ve heard from some of my peers about companies offering an absolute pittance for lifetime rights to an image and then failing to understand why they’ve refused the offer and it becomes distressingly apparent that photography and photographers are seemingly held in very low regard by the rest of society. I’ve had people come up to me in the street when I’m shooting architecture and ask, with a bewildered expression on their face, what it is I’m doing. This usually happens when I’m not pointing the camera directly at a landmark. I tend to reply with “I’m taking a photograph”, which tends to invoke an incredulous “of what?!” response.

With our list of aggressors including authorities, (certain) newspapers, businesses and the general public, it’s a wonder any of us make money, especially when combined with the current economic climate. To bring this slightly ranty tangent back to the original copyright theft issues, don’t resign yourself to the fact that “this is just the way it is” when it comes to what happens to and with your images. Don’t work for free and don’t be afraid to charge for your services. It may feel strange to turn work down from time to time, when the client is offering too little, or indeed, no money, but working for free and letting your work be used without your permission has a knock-on effect to all self-employed photographers, because it drives the value of photography even further down: I don’t remember any of my photography kit being free.

Regardless of whether it’s a high profile case like the Daily Mail’s atrocious behaviour or a small, personal issue, don’t be afraid to kick up a stink if your images are being used without credit and without your permission. It’s probably a bad idea to immediately go steaming in because it’s not always the case that people are deliberately avoiding crediting you: smaller businesses or people unused to dealing with photography might just need a friendly reminder of the process (initially, at least). It’s when the big guns who should know better start taking the mick that we need to take action.

In short, if we truly care about what we do, we must educate people about the value of photography. Make yourselves heard.

Street Photography in London

Recently, I realised that while I do an awful lot of writing about photography, I’m not actually spending all that much time actually taking pictures myself anymore.

A sad state of affairs – especially as I bought a gorgeous Canon 50mm f/1.4 prime lens. (I could rant about prime lenses for hours, but I’ve done so in a previous post, which (if I may nest my parantheses and be so bold as to recommend one of my own articles) is well worth a read), and I have a fabulous city right on my doorstep.

Anyway, so I have never really done that much street photography before, but I figured it’d be a crying shame not to have a go at it - and I think I did pretty well – these are some of my favourites... I may even decide to enter them in the London International Film Festival, which starts in June 2011

Mean Fiddler

Mean Fiddler

This photo, Mean Fiddler by Photocritic.org on Flickr, was a lucky one indeed. Shot from the hip just as he was finishing playing a song, the colours came out magnificently, and I got quite lucky with the focussing as well – Seeing as how I was shooting from the hip at f/1.4, it wasn’t as if I had a lot of leeway with my depth of field.

Technical Details: Canon EOS 450D with a Canon 50mm f/1.4 prime lens. 1/320 second at f/1.4 and ISO 100, metered in Aperture-priority AE with a -2/3 stop EV bias. More tech info here.

"Is he taking a picture of me?"

"Is he taking a picture of me?"
This photo, "Is he taking a picture of me?" by Photocritic.org on Flickr, was taken in the midst of a St Patrick’s day parade on Trafalgar square. She was hanging out with some of her friends in front of a fountain, and the light kept catching her, so I figured I’d try and capture that. The back-lighting was quite tricky (and, considering that all of these photos were taken on a single attempt, with one shot at getting it right, I think I got lucky), and I’m happy that I was shooting this in RAW, because I needed to do a few adjustments to make the photo come out well.

Technical Details: Canon EOS 450D with a Canon 50mm f/1.4 prime lens. 1/1250 second at f/1.4 and ISO 100, metered in Aperture-priority AE with a -2/3 stop EV bias. More tech info here.

Dreaming over Coffee

Dreaming over Coffee
This particular shot, Dreaming over Coffee by Photocritic.org on Flickr, came about right at the beginning of the walkabout in London – I was in line for the queue at Nero coffee, and spotted this girl, who was sitting there, enjoying her coffee, and being rather blase about checking out the cute guys walking by – what is more summerly than that? When the moment came, I simply lifted the camera to my face, snapped the shot, and paid for my coffee. Simples.

Technical Details: Canon EOS 450D with a Canon 50mm f/1.4 prime lens. 1/200 second at f/1.4 and ISO 100, metered in Aperture-priority AE without EV bias. More tech info here.

Me too, brother. Me too.

Me to, brother. Me too.
This one, Me to, brother. Me too. by Photocritic.org on Flickr, was taken immediately after the girl above. We were sitting on the statue in the middle of Seven Sisters, and were watching the world go by. This fellow just showed up, stopped right next to me, and stared at the sky for a bit – His T-shirt made me laugh, so I couldn’t not take the shot.

Technical Details: Canon EOS 450D with a Canon 50mm f/1.4 prime lens. 1/200 second at f/2.8 and ISO 100, metered in Program-mode AE with a -2/3 stop EV bias. More tech info here.

MOAR!

If you want to se more, you can see the whole set on Flickr.

Also, if you haven’t seen many updates from me recently, it’s because I’m out of the country for a while, doing a load of photography and eating a lot of lovely food while visiting my parents in Mumbai, to be precise. When I come back, I’m finally moving back to London again – if I can find myself a place to stay, that is.


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New Nikon dSLR: The Nikon D5100


New SLR from Nikon!

This one came a little bit out of nowhere, but Nikon is adding a new dSLR to its arsenal - the D5100. It's got a nifty swivel screen (that Nikon loves to call 'Vari-angle'), and a full 1080p HD movie mode.

The D5100 replaces the rather fabulous D5000. The big thing Nikon are shouting about in this launch is the Vari-Angle screen, and continues the march of making SLR cameras more useable when using the increasingly useful Live View mode. The screen has nearly 1 megapixel worth of resolution (921k, if you wanna get picky), and is a whopping 3 inches across. Groovetastic.

A newbie-magnet?

It seems as Nikon are pandering to the n00bs with the D5100 - they've added a special effects mode to shoot "amazingly unique pictures" and HD movies. ("Amazingly unique?" Really? I thought they hired proper PR people these days...). The special effects mode are a choice of seven different effects, including selective colour, where you select up to three colours to appear in the still or movie while other areas are monochrome, and miniature effect, which makes "an image appear like a view of miniature scale" (so, basically, a digital approximation of a tilt-shift link). You can select which special effect to shoot in and they are directly accessible via the mode dial on the top of the camera. Personally, I think it's a load of wank, but hey - it may float your boat.

Built-in HDR function

The D5100 inherits a whole load of features from its bigger brother, the Nikon D7000, including a wicked 16.2 megapixel CMOS sensor, and the new(ish), image-processing engine, EXPEED 2. Adding to this the D5100 has an expanded sensitivity range to further help capture better images in challenging light conditions – the ISO ranges from 100 to 6400 and can be raised to ISO 25600 at Hi 2. Pretty cool - and a strong sign to Canon that they really need to step up their game.

The D5100 also introduces a built-in 2-shot High Dynamic Range (HDR) function, which are combined to produce a single image with a wider dynamic range. Pretty cool!

I don't think D5000 owners should run to the shops quite yet, but if you're looking to upgrade an older entry-level Nikon camera and you've got a decent array of lenses already... This does look like a pretty damn attractive piece of kit!


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© Kamps Consulting Ltd. This article is licenced for use on Pixiq only. Please do not reproduce wholly or in part without a license. More info.