Surreal Photography: Creating the Impossible is now on sale!

The worst bit of writing a book isn't the early morning starts, or the stress of scrambling for a deadline; it's not the 22nd revision or edit that you need to make after you thought that the 21st would be the last; it isn't even waking up in a cold sweat panicking that you forgot to submit a particular image way after it has gone to print. No. It's none of these. The worst bit is waiting for your printed books to be shipped from China to where they're going on sale. They're in existence, they're ready, but they're suspended in a maritime limbo.

As if a slow boat from China isn't bad enough, it's even worse when the ship in question is held up by a typhoon in the South China Seas.

This is, of course, precisely what happened to my newest book, Surreal Photography: Creating the Impossible. It feels like a very long time since I submitted the final manuscript last autumn, crammed with information on how to shoot surreal-looking images in-camera, create them from scratch, or composite them digitally, and including 25 gorgeous step-by-steps to creating surreal images from 25 highly talented photographers. But at last it's ready to rock-and-roll in bookstores and our go-to online retail behemoths in the UK and the US. If, however, you'd prefer to place your paws on an e-version right this very second, you can download it from the Ilex Instant store.

Now that it's made it, you should check it out!

'Shooting Yourself' goes on sale this week!

We're nothing if not collaborative here at Photocritic, and Shooting Yourself is a great example of that - containing photos of around a hundred self-portraiture artists, curated by yours truly, and with a big load of input from Daniela (also of Photocritic fame)... It's one big orgy of words, pictures, and - yes - self portraits! Find out more over on my other website, and pre-order your copy from your favourite bookshop. If you can't wait, or if you prefer a digital copy, you can grab a virtual copy of Shooting Yourself from Ilex Instant. You've got to hurry, though, I hear Ilex Instant is about to run out! (I jest, I jest... Adam, my publisher over at Ilex, ensures me that they have plenty of digital stock)

What are you waiting for? Shuffle over and grab your copy today!

Competition rights grabs don't just exploit photographers, they destroy the industry

When we feature competitions here on Photocritic, we do our best to ensure that they're entrant-friendly: we don't like to promote contests where you run the risk of losing control over your images and we prefer not to support paid-for contests, either. If we're the slightest bit suspicious, the competition PR takes a one-way trip to the delete bin. And if we do feature a competition, we always urge you to check the terms and conditions to ensure that we haven't missed something and that you're happy with the rules.

Last night, I received a communique from an agency representing an internationally renowned publishing house requesting that Photocritic promote a competition aimed at up-and-coming photographers. The prize could be a huge break for an as-yet unrecognised but talented fashion photographer, with a commission, mentoring from some significant individuals, a gallery exhibition, and a chunk of cash.

A closer inspection of the rules, however, has ensured that this competition will not be featured positively here on Photocritic. Indeed, rather than being consigned to the dustbin of broken dreams, I'm going to highlight it for what I believe it is: a rights-grabbing exploitation of ambitious young photographers that has the potential to do them, and the photography industry as a whole, more harm than good.

The issue lies in clause 7a of the contest's rules, covering Ownership and Licence:

All entry materials become the property of the Sponsor and will not be acknowledged or returned. The copyright in any Submission shall remain the property of the entrant, but entry into this Promotion constitutes entrant's irrevocable and perpetual permission and consent, without further compensation, with or without attribution, to use, reproduce, print, publish, transmit, distribute, sell, perform, adapt, enhance, or display such Submission, and the entrant's name and/or likeness, for any purpose, including but not limited to editorial, advertising, trade, commercial, and publicity purposes by the Sponsor and/or others authorized by the Sponsor, in any and all media now in existence or hereinafter created, throughout the world, for the duration or the copyright in the Submission. Sponsor and/or others authorized by the Sponsor shall have the right to edit, adapt, and modify the Submission.

The translation? The competition organisers can use all the images submitted to the competition any way that they want to, across any media known or currently unknown to man, without informing, compensating, or even acknowledging the photographers for the duration of the copyright.

Not only is this an exploitation of the photographers who might submit their images to the competition, but it is damaging to the photography industry as a whole. For every rights-stripped photograph entered into the competition, that's a potential commission taken out of the market. The competition organisers have created for themselves an image archive that they are at liberty to use in perpetuity without compensation. Why would they need to commission material or purchase stock when they have this at their disposal?

Flick through any magazine and you'll see hundreds of images used to bring colour and interest to articles. We use them here on Photocritic. The images aren't intrinsic to the pieces and the content won't suffer from their omission, but the articles look better for them. Team Photocritic tends to trawl through its archives in search of suitable images, but magazine publishers might turn to a stock agency or an in-house photographer for their needs.

For one of the largest and most powerful international magazine publishing houses, it doesn't matter that the images they've harvested from a particular competition are fashion shoots and won't necessarily be front cover material or suitable for splashes. They can be used to illustrate all manner of feature articles across a huge range of publications that need nothing more than a generically beautiful image: 'Ten tips for a tan-ready tummy in twenty days' or '52 things to do before you die'. These free photos can be used time and time again in a huge number of magazines, and in so doing they deprive in-house and stock photographers of work. Cover shots and fashion spreads are the prizes in fashion photography; they're not the bread-and-butter work that keeps rooves over the heads of photographers and food on their tables.

By looking for their big break when they enter a competition that's aimed at up-and-coming photographers, the entrants are quite likely doing themselves out of work in the long run. Please: always read the terms and conditions before entering a competition and don't relinquish your rights cheaply.

Best thing about iOS 7? The camera is bloody fast.

We already took a quick peek at the new camera app in iOS 7, but then I was able to borrow an iPhone 5 running iOS 7 off a friend, to see what changes Apple may have been making to the camera. There are lots of little improvements, but the #1 thing that strikes me about it is how incredibly, incredibly fast it is. The camera in general was one of the things I disliked the most about iOS 6, but in the newest version of the operating system, Apple have completely knocked it out of the ballpark.

Gone is the skeuomorphic "shutter closing" animation that made the camera feel horribly laggy. In the new camera app, you can take photos as quickly as you can press the shutter button. No, seriously - if your subject is bright enough, and your thumb is fast enough, you can practically record video, that's how incredibly fast it is.

It's not just really quick at taking pictures, either - you can swipe from the lock screen to launch the camera, and the code boffins at Apple must have done some serious re-coding of the camera app: It launches in fractions of a second, and and you're immediately ready to take photos.

Let's take a closer look.

At the beginning of the video below, I'm just showing how easy it is to go straight to the camera (Drag from the bottom right of the screen). Then, I'm launching the camera, then going straight into taking a load of photos in rapid succession, followed by showing off the pictures I've just taken in the camera roll:

Really impressive stuff - and that doesn't even touch on any of the other improvements on the photography side of things.

Suffice to say that I think Apple have finally created some software that's worthy of the extremely capable cameras that are finding their ways into the iPhone 5 and new iPod Touch devices. Way to go, guys, and keep up the great work for photographers!

Fujifilm and Panasonic come together to create a thinner, more sensitive imaging chip

The development of the imaging chip has focused overwhelmingly on resolution, and the desire to cram more and more pixels onto smaller and smaller sensors. However, improvements to image quality can only come from so much increased resolution; the focus now needs to shift to improving dynamic range, sensitivity, and pixel accuracy. We've already seen the potential for a graphene sensor developed at the Nanyang Technological University, but camera manufacturers are also looking to improve sensor technology, too. To this end, Fujifilm and Panasonic have been collaborating on a thinner, more efficient sensor.

Between them, with Panasonic focused on boosting image quality with semi-conductor device technology and Fujifilm devoting its attentions to an organic photoelectric conversion layer (more on those in a moment), they have developed an organic CMOS sensor with higher dynamic range, increased sensitivity, and a wider incident angle. This should lead to better image quality from smaller sensors.

A conventional image sensor comprises a silicon photodiode to capture light, a metal interconnecting layer, a colour filter, and an on-chip micro-lens. Fujifilm has swapped the silicon photodiode for an organic photoelectric conversion layer. This is more sensitive than the silicon photodiode as well as significantly thinner.

Fig.1: A thinner light sensitive layer makes for a more efficient imaging chip

Panasonic's contribution has been to increase the ability of sensors to handle electronic signals, preventing highlight clipping and reducing noise. It estimates that these new sensors have a dynamic range of 88dB.

Fig. 2: Higher dynamic range and lower noise levels

Furthermore, between them Fujifilm and Panasonic have managed to increase the area of the sensor capable of harvesting light. They estimate this should boost sensitivity by 1.2 times compared to a conventional sensor, helping to capture images in lower light settings.

Fig. 3: A larger light-gathering area means increased sensitivity

Finally, by swapping the silicon photodiode for the organic photoelectric conversion layer and reducing its thickness, there's been an increase in the angles from which the sensor can detect light. Instead of an incidence of 30 to 40°, you're now looking at about 60°. You can see this illustrated in Figure 1. This should allow for for more faithful colour reproduction and possibly more flexibility when it comes to lens design.

If you're at the 2013 International Image Sensor Workshop to be held in Utah on 15 June, you'll be able to hear more about the technology. However, they are anticipating it will be used across the spectrum of imaging products, so I suspect we'll be hearing more in the future.

How exciting is the iOS 7 camera app?

Apple iOS 7 Whilst everyone else is arguing about whether the new flat design and Crayola coloured icons that comprise iOS 7 are genius or travesty, shall we take a look at what's been updated, reshuffled, and introduced camera-wise?

Taking on an iPhotos feel, photos are now automatically organised into 'moments'. It's a twee name for a fairly neat concept: images are sorted and labelled geographically and temporally using their metadata. This will let you search photos you've taken in one particular location by date. It's a more sophisticated digital version of having holiday albums sorted by year and place, with each photo captioned; you can see all the photos from one place organised by date, too.

Airdrop will allow you to drop an image into someone else's iPhone over the same wi-fi network. If we can Airdrop to other devices, for example a MacBook Air, that'd be neat.

Photo Stream already allowed you to share with your friends and for you to comment on their streams; now you can insert your photos into their shared streams, creating a collective album.

Moving between camera, video, panorama mode, and the square crop feature is managed by a swipe. Yes, you read that right, there's a square shooting mode built into the camera app, along with a range of filters. It feels like a dreadful disease that afflicts smartphones. With any luck, it's a childhood illness and everyone will grow out of it soon.

The conclusion? There's nothing revolutionary or even exceptionally exciting here. It feels more like a consolidation of features and in some respects even a game of catch up. That's not to say that sharing images via Airdrop isn't a welcome addition, it's just that it isn't setting alblaze the world of mobile photography.

Lightroom 5 available now

There were a few worried faces and strained questions when Adobe announced its intention to switch Photoshop from being a standalone package to a cloud-only subscription service earlier this year - what did this mean for Lightroom? Adobe was quick to confirm that Lightroom would remain a standalone option as well as being available in the full Creative Cloud subscription, at which point I think there was a collective sigh of relief, and this moring Adobe has released the newly upgraded Lightroom 5 package.

What then do you get for your £57.64 ($79) worth of upgrade or £102.57 ($149) of brand new photo editing magic product? (Or the automatic update that comes with your monthly Creative Cloud subscription.)

Instead of having to piddle about with the spot healing brush, trying to get a round brush to cover a square imperfection, there's now the Advanced Healing Brush. This allows for irregularly shaped splotches and blotches to be fixed with a bit more panache than a round thing. I mean, really, since when have imperfections been perfectly round?

Being the stickler that I am for straight horizons, I'm looking forward to trying out the Upright tool. Using the angle tool wasn't especially tricky, but having a tool that analyses and corrects at the click of a button might be useful.

If you've bemoaned the inability to apply off-centred or multiple vignettes, the new Radial Gradients tool should bring an end to your woes.

The Book module has been updated to include standard or customer-specific templates and the video slidehow function lets you combine images, video clips, and music in one feature.

If, like me, you store your Raw images on multiple extrenal hard drives rather than on your computer's hard drive, not being able to re-edit an image because you and your files are separated by a plane ride, a train ride, or just a walk upstairs is a bit frustrating. Smart Previews is there to ease the pain of the 'Image Offline' notice - you can make your edits offline and next time you connect, the changes will be applied to the original images.

The brand new standalone package and the upgrade are available now. Head over to Adobe for the details.

What is aperture?

Learning anything new comes with a whole spectrum of principles, terminology, and practices that have the potential to boil your brain, leave you mildly confused, or anywhere in between whilst you're getting to grips with them. Photography definitely comes with its own theories, vocabulary, and conventions and not knowing what people are talking about when they refer to 'noise' or 'speed' can make you feel about a pixel tall. To try to ease people's paths in photography and prevent eye-swivelling, mind-frying, and either mild or acute embarrassment, we're running a series on photography fundamentals, throwing a bit more light on the things you need to know. I could say that we're starting with aperture because it begins with a, but I'd be lying. We're starting with aperture because it was the first thing that sprang to mind.

Aperture: it might be basic, but it can also be a bit of a stumbling block for people who are just beginning in photography. For a start, altering aperture doesn't have a single effect on your images, but a dual one. As if that isn't enough to confound people, its scale isn't exactly intuitive. Still, understanding aperture is critical for both exposure and composition—the bedrock of photography—so we'd best crack on.

Aperture and light

Aperture means ‘hole’ or ‘opening’. In a photography sense, the aperture is the gap that allows light to pass through the lens. The bigger the opening, or the aperture, the more light passes through. That’s pretty intuitive. When you’re taking pictures in low-light settings, a bigger aperture will help you to take a photo where you can see something.

In order to get enough light onto my sensor, I used an aperture of ƒ/1.8 here

If you’re taking pictures in bright sunlight, using a smaller aperture will help to prevent the image being one mass of white.

Aperture and depth of field

The second effect that aperture has on photographs concerns depth of field, or how much of an image is in focus. If you use a small aperture, you will notice that the depth of field in your photos will increase: more things in the background and foreground will be in focus. Landscapes often benefit from small apertures. In this case, ƒ/11 was used to photograph Mount Etna

Conversely, by increasing the size of your aperture (and allowing more light to reach your sensor), you will decrease the depth of field in an image. That means that less of the scene will be in focus.

Sanguinello

An aperture of ƒ/1.8 meant only a sliver of this blood orange was in sharp focus

Measuring aperture

When you hear people throwing around numbers such as ƒ/1.8, or ƒ/22, they are referring to aperture. Aperture is measured in ƒ-stops, with ƒ/1.4 being a very big aperture and ƒ/22 a very small aperture.

That the large number represents a small aperture and the small number indicates a large aperture can be more than a bit confusing. It will probably help to think of the ƒ-stop scale like this: those numbers correspond to fractions; the fraction being how big the aperture—or the opening—is. Thus ƒ/4 corresponds to a quarter and ƒ/8 to an eighth. An eighth is obviously smaller than a quarter; this means that it is a smaller aperture, it lets in less light and it gives a greater depth of field.

Finally, perhaps you're wondering what those fractions are fractions of? They’re fractions of the length of the lens you’re using. The aperture of a 28mm lens at ƒ/1 will be 28mm. Similarly, the aperture of a 50mm lens at ƒ/4 will be 12.5mm. The bigger the ƒ-stop, the smaller the aperture.

TL;DR

  • Aperture means hole, gap, or opening
  • A smaller aperture lets in less light, good for shooting on sunny days; a larger aperture lets in more light, good for shooting when it's dim
  • A smaller aperture gives a greater depth of field, bringing more of the background into focus; a larger aperture gives a shallower depth of field with less in focus
  • Aperture is measured in ƒ-stops
  • F-stops correspond to fractions
  • The higher the ƒ-stop number, the smaller the fraction, and the smaller the aperture

You know what, go out and take some photos altering the aperture value on your camera. Then you’ll see what we mean!


Photography Fundamentals >> Contrast

The retreat continues: Fujifilm axes 50% of its compact line

The Fujifilm J10 - not long for this world?

It started with Olympus at the end of May, and now Fujifilm has followed suit: it has announced that it will be axing about 20 cameras from its compact range, mostly at the bottom end of the scale.

Huzzah!

Scaling back compact camera production, and in particular slashing the cameras that once-upon-a-time would have fulfilled the needs of the smartphone picture-takers, is a business move I've advocated for quite a while. The smartphone crowd have gone and won't be coming back until their iPhones or Galaxys no longer meet their photographic needs, if at all. Should they reach the point when a fixed aperture, bad zoom, and no control over shutter speed is frustrating them, they certainly won't be looking for a cheap, plasticy, garishingly coloured camera with a slow lens and horrible auto-focus.

The margins on these lower-end cameras are minimal and why would a serious camera company want to put their name to a camera like that, anyway? It hardly inspires confidence in their manufacturing abilities, nor in the benefits of having a stand-alone camera.

Instead, these manufacturers should be concentrating on the compact camera market that does still exist and needs fulfilling. The premium compacts are the obvious focus, but there's a bigger market out there than just those. People like my parents want a reasonable camera, but not one that's all-singing and all-dancing. People like my cousin and his wife want a camera that they can safely take sailing or snowboarding, but won't drown, freeze, or smash.

It seems to have taken a while, but it looks as if some manufacturers are beginning to re-focus their efforts. (Pentax doesn't appear to be subscribing to this new model, seeing as it announced the £80 Ephina yesterday, but that's okay.) Discerning who needs what from a camera, and providing these consumers with the products that they need can only be a good thing for photography.

Open for entries: the 2014 Sony World Photography Awards

'Survivors, by Andrea Gjestvang/Moment Agency, Norway, Winner, People, Professional Competition, 2013 Sony World Photography Awards The 2014 incarnation of the Sony World Photography Awards, run by the World Photography Organisation (WPO), is now open for entries from professional, amateur, student, and young photographers. Prizes range from $25,000 for the winner of L'Iris d'Or, the overall winner of the professional competition, to new equipment from Sony for all category winners.

There are 15 categories in the professional competition, ten in the open competition, the youth competition is for photographers aged under 20, whilst the student competition is for students of photography studying in higher education aged between 18 and 30.

The professional competition is judged on a series of images from the same body of work that was completed or first published in 2013. Series must comprise between three and ten images and you can enter as many categories as you want, but you can't submit the same series to multiple categories. As for the categories, you can choose from: architecture, arts and culture, campaign, contemporary issues, current affairs, fashion & beauty, landscape, lifestyle, nature & wildlife, people, portraiture, sport, still life, and travel.

Basic members of the WPO are eligible to enter up to three photographs for free, submitted into one category or spread across multiple categories of the open competition. Categories comprise: architecture, arts and culture, enhanced, low-light, nature and wildlife, panoramic, people and places, smile, split second, and travel.

There are three categories for the youth competition—culture, environment, or portraits—and entrants can submit between three and 20 images across the categories.

As for the closing dates: the open and youth competitions close at 23:59 GMT on Monday 6 January 2014 and the professional competition closes at 23:59 GMT on Thursday 9 January 2014.

Should the student focus competition interest you, the brief is to shoot a single image for the front page of a newspaper. Style doesn't matter but content does: the aim is to draw attention to an issue that's significant to you. Entries need to be submitted by 6 December 2013.

All of the information detailing how to enter, the Rules, and more on the prizes can be found on the WPO website.

Triggertrap launches updated Android app!

We haven't seen any updates from Triggertrap's Android division since November last year or so, but that doesn't mean to say that their boffins have been kicking back and drinking tea. Oh no, they've been hard at it, and have just launched a shiny new Android version of the universally awesome universal camera trigger to prove it. Along with a swathe of minor bug fixes, the big news is the inclusion of the Bang! sound detection mode and the Wi-Fi Master mode. Bang! will allow you to trigger your camera with a clap, whistle, click of your fingers, or squahonk of a Kazoo; the Wi-Fi Master does pretty much what it sounds as if it does: lets you trigger all of your enslaved devices from a master via Wi-Fi.

If you'd rather get the low-down straight from the Triggertrap team you can see this post on Triggertrap's website for the full details or watch their video

https://vimeo.com/67222043

And don't forget, you can update your app via the Google Play store, or download it direct from Triggertrap.

Super-sensitive, super-light graphene sensors: which manufacturer will bite first?

Image courtesy of NTU We're accustomed to stratospheric ISOs making their ways into camera specs, helping us to capture images in lower and lower light situations. But what if changing the material from which camera sensors are manufactured could make them even more photo-sensitive, and lighter and more energy efficient to boot? A team of researchers at Singapore's Nanyang Technological University, led by Assitant Professor Wang Qijie, think they've cracked it. With graphene, the super-strong, rather flexible, heat-resistent carbon compound.

A graphene-based sensor has the potential to be 1000 times more sensitive to light than a current model CMOS or CCD sensor by making use of a light-trapping nanostructure that is able to retain light-generated electron particles for longer. In addition, graphene is lighter and more flexible than your usual sensor, with the potential to be five times cheaper. Rather than graphene-based sensors demanding a complete overhaul of the manufacturing process, it's possible to swap-out traditional metal-oxide semiconductor sensor bases for the new-fangled graphene versions without any major changes. It keeps getting better.

We're not just looking at more light-sensitive and more engergy-efficient sensors in our smartphones, compact cameras, or interchangeable lens cameras; being broad-spectrum sensors, they have roles in satellite technology and infra-red imaging, too.

Which major manufacturer will be the first to bite, then?

(Headsup to Tech News Daily, Will Jennings, and Nanyang Technological University)

Haje's review notes: Canon EOS 6D

After Photocritic editor Daniela came and showed me her shiny new camera - the Canon EOS 6D - I was gobsmacked. I have used my Canon EOS 5D for a while, and for quite a long time, I had been extremely happy with the photos, but living with this nagging feeling that there was something 'off' about the 5d. As soon as I picked up the 6D, I realised what it was. The Canon EOS 5D mark III is an astonishing piece of kit. The low-light capabilities are out of this world, it takes incredible photos, and the controls are so natural that it is probably the camera body I've gotten used to the fastest. It's a masterpiece of electronics and design. However, as I discovered when I first held its baby brother, it's too large.

This may come as a surprise to someone who's met me. I'm a tall guy (around 6'4" / 196 cm or so), and I have freakishly large hands. But, when I was writing a lot of books about photography, I forced myself to use entry-level cameras - not because I particularly wanted to use them, but because one of the key things I make in my books is that equipment doesn't really matter. That is very, very true, up to a point -- but given that most of my books are written for beginners, I had to 'eat my own dogfood', as they say: I figured it wouldn't make any sense to use a 5D mk III and then sing the praises of entry-level SLR cameras.

Dead Rat Orchestra -- Concert photos taken at Islington Assembly Hall, 1 June 2013.

Anyway: Last night, I did my first gig with the Canon EOS 6D, and ran into the first time where the 6D fell short. With the 5D, you can take gorgeous 22-megapixel shots in raw all day long; I never ran into a full buffer. On the 6D, however, I ended up missing several of the shots at the concert due to the camera's buffer being full.

I can't quite convey my disappointment: The 6D is a perfect camera for me in so many ways. I love the 20 megapixels, I love the ergonomics, I love the fact that it's a lot smaller and a bit lighter than the 5D. I like that it has GPS built in (great for travel photography!). I suppose it's naïve to think that any camera can completely replace a camera that's £1,000 more expensive.

Despite this one minor hiccup, I do still think I'll end up selling my 5D mk III. In the end, the consideration is this: How often do I take concert photos (not that often), and how often do I travel and take photos (frequently). The lighter weight, smaller size, and built-in GPS are worth more to me than being able to go all rapid-fire at a gig. And, of course, there's a way of dealing with this shortcoming, too: Become a slightly better photographer, and be a little bit more selective about the photos I take.

See the full gallery of concert photos taken with the 6D over in my Flickr set!

Catch up with the Datacolor & Triggertrap remote triggering webinar

If you weren't able to catch the Datacolor and Triggertrap webinar on remote controlled photography yesterday, possibly because you were sleeping (in the Antipodes and Asia), having dinner (in Europe and Africa), or at work (in the Americas), then you need feel guilty or excluded no longer. The recording is now available for your perusal. You can stop and start it and rewind* it as often as you want. The webinar placed David Saffir and C. David Tobie on hand to share their knowledge and experience when it comes to remote controlled camera operation, from the the basics of shooting tethered to a computer to stop-motion. Why not take a peek?

* Does one still 'rewind' digital video? Clearly the word is a hang-over from the days of tape recordings. Hmm.

Street photography and the law

A lot is said and written about photography and the law – and to be honest, you’d be mad to get involved in the fray. Of course, I am that mad, which is why the Rights vs Respect in Photography ended up published here on the site.

Now, the other day, one of my readers, Brad, posted a rather fantastic and soberingly clear comment about what the law actually means to photographers. It was written from an US point of view, but frankly, the law is similar in much of the world. Beyond the law, however, you should be looking for a helping of ‘common sense’. This ‘common sense’ thing isn’t as common as its name would indicate, so hereby; a healthy dose of common sense and a quick refresher of what you can and can’t do when you’re out and about with your camera…

I was so happy to find this in my comments, that I figured it’d be a crying shame if it stayed hidden away as a comment on a long-forgotten blog post, so hereby, republished in all its glory. That means that some of the comments (where they are replying to other comments) are a little out of context, but I’ve linked directly to the correct comment where possible, to clarify.

Take it away Brad:

The law can essentially be summed up like this:

1. You can take a picture of anything you see – especially when you are in public.

2. You CANNOT take pictures where there is an expectation of privacy such as in a rest room or locker room. (more about Expectation on Privacy on Wikipedia)

Me to, brother. Me too.3. You cannot legally trespass, but if you are on a side walk and you were so inclined you can photograph people in their back yards or on their porch. I think the back yard is over the line though.

4. You can take pictures of people or children in any public context. BUT DON’T FOLLOW LITTLE KIDS OR YOUNG WOMEN AROUND AND SCARE THEM. Legally though, you can follow people to get that shot – remember the Princess Diana chase. Perfectly legal.

5. You cannot profit from your work without signed releases. But to restate, feel free to snap away. It is only your commercial use that is limited.

6. You NEVER have to surrender your camera to or discuss the nature of your photography with anyone without a court order.

The photo with the guy wearing the ‘I ♥ Michelle Obama’ shirt is Me to, brother. Me too. by Photocritic.org, on Flickr. It was taken street-photography style without permission – but sits very nicely in my portfolio, which is perfectly legal.

Protecting your right to taking photos

I hate government oppression too. I was oppressed last summer at a pool. The Captain of the Guard approached me and asked me about the nature of my photography. I advised him that it was none of his concern as I was in a public place photographing what is in the public view. Furthermore, I told the “Captain of the Guard” to call the police expecting them to tell him there was nothing they could do about it. Without rehashing the whole story, the police can stay there and observe you. They may lie to you and try and intimidate you even making threats such as banning you from a public park (which they cannot do). Luckily, I happened to be on the phone with an attorney at the time. As an aside, you ARE required to provide police with valid ID if asked.

In a case like this, take pictures of the police officers, their badges and their cars. Indeed, take pictures of all the people involved and go public with it. Continue taking pictures of your original subjects. It is perfectly legal, they cannot prohibit it unless you are on a restricted government property or at a nuclear facility. You can also take as many pictures as you want of whatever and whomever you want including the person escorting you out of a private place(for example you are at a mall and being escorted out). If you are alone, get somebody on the speakerphone as a witness to what is being said.

Assault (fear of harm), Battery (physical contact), Terrorist Threats (threats of violence), vandalism (damage to your property) are serious offenses. If someone like an angry spouse or parent threatens you with harm or attempts to seize your equipment calmly offer them the opportunity to stand down and walk away. Suggest that they call the police or their attorney. If they do not stand down, call 911 and press charges.

How to avoid being photographed

For better or worse a person’s sole recourse is to seclude themselves should they wish to not be photographed.

So:

1. When you are in public, dress and behave appropriately or you may find your picture on MySpace or something similar. I don’t know what your son was doing when his ex photographed him, but if they are all appropriate the pictures may convey a different sense than the words the ex is using. Whatever the pictures convey however, is true for that moment in time.

2. Dress your young children appropriately even at the pool. They may be photographed. You CERTAINLY DO NOT want them to appear older or sexually appealing.

3. Encourage your teens to dress and behave appropriately. They may be photographed. Do NOT buy them clothes that you do not want them seen in.

4. Do NOT threaten or harass a photographer. You may find yourself in front of the magistrate if you do. You most certainly will if you threaten me.

5. Be conservative. Do NOT make yourself into an irresistible subject.

As for the lingerie store worker: The contents of the store are NOT copyrighted works. That is not what would prohibit this person from entering the store with a camera. Indeed, unless it is posted otherwise, he can walk into the store with his camera. He CAN be ordered to leave and must comply since it is PRIVATE property. He can enter in the first place by virtue of being a store open to the public. Permission to enter is implied. That is why your store my wish to post a prohibition notice against photography inside the store.

Now, if this is in a mall, mall security can escort him out. He can of course take as many photos of anyone or anything he wants while he is being escorted out of the store or mall.

If he is on the side walk outside the store unfortunately, you are out of luck. He does not need your coworker’s permission to photograph her.

Good photographers are ALWAYS looking for a good photo opportunity. That could be a beautiful woman, a handsome man, a child playing (some facial expressions are golden), an animal, sunset or barn. Who knows.

Young Jealousy Young Jealousy by Photocritic.org on Flickr – an example of a street photograph involving children. As I do not have model releases for them, I cannot sell it as stock, but (at least in the UK), I can use it in a newspaper article related to the event in which it was taken (St Patrick’s day parade), or I could post it on Flickr and use it as part of my photography portfolio.

I recommend getting your shot and moving on though. The longer you stay, the more likely you will be noticed.

I don’t know what this guy was doing at your store. If it was a one time thing hopefully he just found her an attractive subject, But admittedly, it sounds “creepy.”

There are times when I may sit or stand somewhere for more than an hour or two just taking pictures of people maybe trying to catch their expressions on an amusement park ride or a water slide. Little kids ooing at zoo animals and the like are awesome shots.

Advice, if someone is trying to seclude themselves from you (the photographer) such as moving to an area out of your view, though it may still be public, respect their privacy. If someone POLITELY asks you not to photograph them or their children you should respect that. If they are rude, screw them. Do what you want. NEVER FOLLOW A LITTLE KID AROUND.

Lastly, there is no expectation of privacy when you are in public. That is why I suggest being conservative. A “peacock” will almost always get its picture taken especially if it spreads its tail. If someone is taking your picture and you do not like it:

1. Politely ask them to stop 2. Leave if they won’t

Consult your attorney if you have any questions.

Brad

Closing notes

Please note:

This post was excerpted from a comment of the ‘Your Rights as a Photographer‘ post, and was republished as an alone-standing article with permission from the original poster.

Please note that nothing on this blog can be considered legal advice – if you have a query, please contact your attorney.

An end to Focus on Imaging

After 24 years, the UK's annual photography extravaganza, Focus on Imaging, is to be brought to a close. Mary Walker, who has organised the show since it inception, has decided that the 2013 event was to be the last, and it won't be sold. Walker commented: 'It's been an immensely rewarding job that has brought experiences and friendships that will always remain. I am certain that the time is right for the industry to perhaps find fresh opportunities and bring new ideas to photographers - maybe we're due a new revolution of some kind?'

You can read Mary walker's full statement here.

Olympus E-P5: first impressions

I was fortunate enough to have the opportunity to go hands-on with an Olympus E-P5 last night. The E-P5 is Olympus' new wi-fi-enabled flagship PEN, with a 1/8000 second maximum shutter speed and a 16 megapixel sensor that is reputed to offer the same image quality as the OM-D. But what did I think?

  • I loved having individual control dials, one for shutter speed and another for aperture, that can be altered to adjust ISO and white balance at the flick of a lever
  • The auto-focus seemed entirely capable in conditions that were less than optimal
  • Tilting touch-screens are always fun
  • It felt comfortable in the hand and looked stylish on the eye
  • I'm looking forward to trying out that 1/8000 second shutter speed!

The Olympus E-P5 should be available towards the end of June 2013. Body-only, it will cost around £900; kits start around £1000 for the 14-42mm lens while the ultimate kit, with a 17mm f1.8 prime lens and new VF-4 high resolution viewfinder, is in the region of £1350.

About a Photograph - the stories behind iconic images

Saul Loeb/Agence France-Presse Do you ever look at a photo and think 'Heavens-to-Betsy, how did the photographer manage that?' Not necessarily the geeky 'What aperture did you use?' type of questions, but the 'Where were you standing? You were standing, weren't you?' or the 'How did you see that one coming?' startled enquiry. Think Tank Photo, the guys who make the Really Good camera bags, have just started a three-weekly video series called 'About a Photograph', which answers those sorts of questions.

Each episode takes an iconic image—news, wildlife, or sports, contemporary or classic—and the background, the insight, and the story behind it is narrated by its photographer. The series is produced by Kurt Rogers and Deanne Fitzmaurice, Think Tank's co-founders and award-winning photojournalists themselves.

The series kicks off with Agence France-Presse's Saul Loeb talking about his Presidential Hug photo, captured on the 2012 US presidential election campaign trail, when a surprised President Obama was lifted off his feet by a Florida pizza shop proprietor.

You can keep up with About a Photograph on Think Tank's blog.

The RSPCA Young Photographer Awards are open!

'Sandstorm' by Alex Berryman, 2012 Ooh we love to see kids and young people out with their cameras. We also like competitions to inspire and encourage them to take photos. So we're happy to see that the RSPCA Young Photographer Awards are now open for entries!

The RSPCA's Young Photographer Awards opened yesterday and they present photographers aged 18 or younger with heaps of opportunities to submit their work and be in with the chance of winning some great prizes, including an Olympus OM-D and a photoshoot at an RSPCA centre. Very importantly, the competition is free to enter and there's no nasty rights grab for submitted entries. (Although please don't take my word for this and check it out for yourself.)

There are three age categories: Under 12, 12 to 15, and 16 to 18; two themed categories (pet personalities and making life better); a portfolio award; and a People's Choice Award that will be selected from the pet personalities category. And the winners of these categories will be put forward for the Overall Winner prize, too.

Young photographers are eligible to enter five photos in their age category, five in the pet personalities and making life better categories, and they can submit three porfolios comprising five photos each. That's a lot of photos that they can submit!

Being a competition run by the RSPCA, the photos should be of animals, and they don't want photos depicting animals doing anything unnatural or being treated cruelly. There are also rules governing manipulation, submission, and residency.

The registration form is here and you'll find all the information pertaining to the competition on the website, including tips and advice from some pros. The closing date is 26 August 2013. Good luck!