Friday 22 March 2013

Photography And The Law


Forum 1: Photography and The Law
Between 1999-2001 Philip-Lorca diCorcia photographed pedestrians in Times Square, NYC.
The resulting works were shown at Pace/MacGill Gallery in Chelsea. When Erno
Nussenzweig, an Orthodox Jew and retired diamond merchant from Union City,
N.J., saw his picture in the exhibition catalogue, he sued diCorcia and Pace
for exhibiting and publishing the portrait without permission and profiting
from it financially. The suit sought an injunction to halt sales and
publication of the photograph, as well as $500,000 in compensatory damages and
$1.5 million in punitive damages.The suit was eventually dismissed by a New
York State Supreme Court judge who said that the photographer's right to
artistic expression trumped the subject's privacy rights.
Mr. Nussenzweig's lawyer, Jay Goldberg, told The New York Law Journal that his
client "has lost control over his own image" he went on to say
"It's a terrible invasion to me," Mr. Goldberg said. "The last
thing a person has is his own dignity."
When is it right or ethically wrong to make an image? Think of yourself in the
position of the subject and ask yourself, am I happy to be photographed and be
unaware of it?
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This was the starting point of a group discussion that myself and some peers were set regarding the topic of Photographers rights. When you think of Photography as a whole, what are our rights as amateur and professional Photographers when it comes to doing things such as producing photographs in public places?
When you think of a controversial body of work that relates to this topic of the law and Photography. Philip Lorca Dicorcia is the first person who's work springs to mind with his series "Heads" (2002)

The subjects in this body of work were unaware of themselves being photographed and then exhibited. One of the subjects displayed in this body of work went on to claim $1.5m in punitive damages for being unknowingly featured in this body of photographic work. 
   
Philip Lorca Dicorcia - #Head 10 from the series "Heads" (2002)

 Image Source - http://www.moma.org/learn/moma_learning/philip-lorca-dicorcia-head-10-2002
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Controversy: Free Speech vs. Privacy Rights

"DiCorcia’s Heads series was at the center of a debate between free speech advocates and those concerned with protecting an individual’s right to privacy. In 2006, one of diCorcia’s subjects sued the artist and his gallery for exhibiting, publishing, and profiting from his likeness, which was taken without permission. While critics claim that the project violated his subjects’ right to privacy, diCorcia explained that he did not seek consent because, “There is no way the images could have been made with the knowledge and cooperation of the subjects.”
Free speech advocates argue that street photography is an established form of artistic expression and that the freedom to photograph in public is protected under the first amendment to the United States Constitution. The lawsuit was eventually dismissed, but the presiding judge suggested the complex nature of this issue, stating, “Even while recognizing art as exempt from the reach of New York’s privacy laws, the problem of sorting out what may or may not legally be art remains a difficult one.”1 The debate rages on"

http://www.moma.org/learn/moma_learning/philip-lorca-dicorcia-head-10-2002
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Ryan Wilson: Whilst the body of work is interesting. It's wrong to a degree due to how they image's have been taken. The idea of being photographed without permission or having any knowledge of later having your face displayed on exhibition, is a wrong move for a Photographer if they intend to not be persecuted. Whilst the actual look and technical aspect of each portrait is unique and clever. Coming from a UK citizen's point of view, it just reminds me of the everyday typical paparazzi shots that we see on the front of gossip magazines. I used to actually like this piece of work, but after looking over it more and more. My personal feelings towards the work has changed. 
Regarding the statement of how one of the subjects photographed in this body of work, requested $1.5m in punitive damages. I do question the idea of how the situation would have been dealt with if the series was shot in the UK rather than the US. 
When you think about it though, how different is being Photographed without permission any different to being caught on camera on television like whilst at a Football match?
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The following screenshots below are screenshots of some the Photographers rights that we in the UK are entitled and not entitled to. 



   Source - http://www.photographersrights.org.uk/page6/page6.html

  Useful articles and online videos

  http://www.nytimes.com/2001/09/14/arts/art-in-review-philip-lorca-dicorcia-heads.html
  http://www.guardian.co.uk/culture/2002/jan/30/artsfeatures4
  http://www.youtube.com/watch?v=bpawWn1nXJo

Friday 15 March 2013

Is it all about Instagram?


Facebook's purchase of the Instagram application for iphone's brought a resurgence of debate about the value it does or does not add to photography. Perhaps even more importantly it questioned the very value/contribution to photography that the application makes through its use. 
If you use any social networking it is hard to avoid Instagram. But what does an ongoing plethora of images that show peoples meals throughout the day shrouded by a vignette to give it a 'retro' look mean in terms of photography as an art form? Should we seriously be looking at these images and giving them the same consideration we give to photography in an art gallery made with a camera rather than a mobile phone? 
The top 10 instagram 'photographers' of 2012 consisted entirely of celebrities and not a single actual photographer made the list

http://www.petapixel.com/2012/05/01/the-10-most-popular-photographers-on-instagram/

This was the starting point for a group online forum that I was set the task of taking part in this past week.

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When being set the task to take part in this forum discussion, it was an interesting new experience for me because I had until doing a bit of research into what Instagram was. Only had a tiny amount of knowledge as to what Instagram was through it clogging up my Facebook through my contacts posts. After doing my share of research, I discovered that the talking point of Instagram being referred to Photography was a highly discussed one across the Internet. A lot of people, including my fellow course peers feel that whilst Instagram is a good thing. There is a line in which the photographs being posted on the website and photographs being produced professionally should be drawn. The term Photographer is thrown around a lot today through how many people believe that taking some form of a photograph through any device (Smartphone's in particular) seems to make you an instant Photographer. Whilst their is a photographic medium in taking a Photograph and adding a funky effect to it. This does not count anyone in any right as a Photographer. If we all said this about any person who owns a camera then it would just be silly. 

Below is an example of an Instagram image that I have picked out from Google Images 
(all credit goes to who ever it belongs to)


According to our brief, the top 10 Instagram users are Celebrities. People like Justin Bieber due to their popularity would get more views, feedback and likes for their posts over any professional that would host their work on this site. This is one reason in which real Photographers should just avoid posting their professional work on a gimmick website like this and leave Instagram for people who use it as a social networking approach and hobby. 

The way I see it, people shouldn't take Instagram to heart as photographic tool. The base of it is not to bring down professional Photographers but rather just as a quirky way for people to combine imagery with Twitter and Facebook. It's interesting to know where people are in the world and what they are doing and eating (Well..... not to me but other who religiously follow famous folk online)

With the ever changing pace of how Photography and the world is changing via technology among other things. It's best to embrace the change as their is nothing we can do about it. 

I will finish up this post with my one post from this week's debate....

Also for those of you who are interested.... I found this interesting article during my research of Instagram in which the article covers reasons why Instragam is a good thing. 

http://www.petapixel.com/2012/10/15/why-photographers-should-embrace-not-scorn-tools-like-instagram/--

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I have never used Instagram and nor do I ever intend to. I only know about it through Facebook so I can't say that it ever attracts my attention or bothers me.
That being said though, after doing some research into the background behind Instagram, I support Amy's statement regarding how Instagram should be seen as a fun online version of Photoshop rather than something that should be taken so seriously. If Instagram is cutting down the amount of work for freelance Photographers then of course it's a negative thing. That being said though I would say that what that is showing is just a sign of our times. The advancement of photographic technology over the course of the next few years due to things like Smartphones, will most likely continue to effect the workrate for freelance Photographers and change people's perspective of what Photography is. We can't do anything about it though. 
What I will say though is that if everyone thinks that creating images with funky effects through Instagram is not original and should not be seen as cool or Photography. What does that say about any images that are processed through Photoshop itself without the need of Instagram. Does that make Photoshop just as bad as Instagram.
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Image source - http://content.photojojo.com/reviews/instagram/

Tuesday 12 March 2013

Is There Really Such A Thing As An Original Image Or Idea

Recently me, a bunch of my classmates and one of my lecturers had a group discussion on the topic of whether we could argue that when it comes to Photography, the days of there being an original image or idea have long gone. This was a highly well pointed debate that brought up a lot of interesting opinions and statements that I would like to share with you all.

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When you think about it, everything has developed from something or other. if you look at the invention of the lightbulb and take note of how light bulbs are filled with gas that emits light when connected to electricity. You could say that this invention was copied from the sun.  Other things from the invention of the computer ( developed from a typewriter) , the invention of the television (developed from the projector) or even the invention of paper from the carvings on stone. There are all sorts of things that have been created from inspiration from something else.

My take on where Photography stands in this topic is that the days where it is easy to think of an idea that has never been done before and run with it have passed us. There are so many Photographer's in the world today, that it is so hard to actually be able to come up with an idea that no Photographer somewhere in the world has come up with already. Whilst it is easy for someone to take inspiration from someone's concept and make one of their own in response to that Photographer. It still mean's that they has to rely on the idea of someone else in order to make their work. The question is, Is it wrong though? Is there a line between taking inspiration from an idea and plagiarism?

After the debate was over, me and a couple of my peers continued this debate over lunch. Some highlights from the talk included comments such as....


  • How in some people's eyes, even though a lot of ideas are copied from other things. There are still a lot of original things to be found that haven't been discovered as of yet. 
  • One person statement that they believed that they couldn't be convinced that an idea can be original. You can think of something creatively and uniquely but at the end of the day it's still not an original idea. 

With two different opinions like this and the debate being an unresolvable one. Is there any such thing as an original idea?



Friday 8 March 2013

How does the media effect people's privacy in Photography?

Following on from my post a few days ago regarding the work of Barbara Probst and her body of work entitled "Exposure" and how it could relate to the current era of Photography in which the media/ paparazzi dons the meaning of the term breach of privacy. I thought it would be interesting to look more deeper into the subject via any forms of books, online videos that I could find in relation to the subject of "How the Paparazzi effects how Photography is viewed upon nowadays?

The following extract is from foreword section of page 6 of the book "Exposed - Voyeurism, Surveillance And The Camera".

"Have we become a society of Voyeurs? The Proliferation of Camera Phones, Youtube videos and reality television would certainly suggest that this is so. At the same time , amid endless political debates about terrorism , the ubiquitous security camera has become one of the icons of our age. We watch , and we are watched

Ever since the mid 1860's the concept of exploring the art of how people can produce forms of images that showcase spying on others, has been evident.  

One of the first painting's to represent this was the paining "Tintoretto, Susannah And The Elders" from 1650.  In this painting two men are shown observing the undressing and unaware subject as she gets ready to bath.  The painting shows that back then you didn't need long camera lens and other equipment in order to breach someone's privacy. 


                                             Fig one: Susannah And The Elders - 1660





  When you look at paintings like this and compare it to what a modernised version of this painting portraying the breaching of one's privacy in todays standards would be like, you could sense how different the meaning of the image would be with how technology has advanced with the invention of long camera lens etc. Dirty Paparazzi tactics. The two men in this painting would today probably be seen holding cameras for some form of purpose like trying to get a snapshot for a newspaper. 

Continuing on with this topic. I want to talk about the idea behind what the invisible Photographer is when it comes to celebrities. In todays generation of Photography, Photographers are looked on negatively by some people due to the how the ever growing trend of Paparazzi imagery fills our newspapers and magazines. Celebrities whether they like it or not are deeply effected by this. 

"When Tazio Secchiaroli shot a handful of embarrassing photographs of the actress Anita Ekburg and her husband in Rome in 1958, he couldn't have foreen the phenomenon that he was helping to create" - Extract from the opening chapter of "Original Sin, The Birth Of The Paparazzo" from "Exposed - Voyeurism, Surveillance And The Camera"
                                       
Fig two - Franco Pinna, Paparazzi ante litter am (Tazio Secchiaroli and Luciano Mellace, Rome (1952)



Useful website links

  http://uk.phaidon.com/agenda/photography/picture-galleries/2010/october/20/exposed-at-     san-francisco-moma/?idx=1- Slideshow link for a range of images from "Exposed - Voyeurism, Surveillance And The Camera" being shown in San Francisco.

     Image and book References

     Fig one - http://www.tate.org.uk/art/artworks?term=Susanna+and+the+Elders+
     Book "Exposed - Voyeurism, Surveillance And The Camera" Pages: 221 and 6
     Fig two - Page 221 - "Exposed - Voyeurism, Surveillance And The Camera"

Monday 4 March 2013

Barbara Probst - Exposure

Produced between the years 2000 and 2006, the series 'Exposure" by Barbara Probst documents the contrast between the use of time, space, surrealism and the decisive moment (Henry Cartier Bresson) through her exploration of how all manner of types of framing can be used within Photography. When I first discovered the work of Barbara Probst (who was born in Munich in 1964), it took me a while to figure out what the purpose behind her work was.  I mean, my first impressions of the image below were "Okay so what is the purpose of what appears to be a two images of a lady jogging around and jogging to the edge of a rooftop? This kind of question from a viewer is what makes the context and appeal of a piece of work stand out. After looking into more images of her work online, I noticed a pattern that showcased that each image from the series was in fact conjoined into two images. Some showcasing Black And White displayed with colour and each pair of images had one that was mostly out of focus. But why though?


      (Fig 1: Exposure #39: N.Y.C., 545 8th Avenue, 03.23.06, 1:17 p.m.
2006)


 My discovery of the Barbara Probst's Exposure series, led me to wanting to diverge my interests in finding the answer to these questions further into the backstory of this body of work. This led me to my University's library in which I came across a review in "Issue 72 Of Source Magazine" of Barbara Probst's Exposure series by Tom Allbeson.  

The article led to me to discover that the purpose of the body of work was to document the representation behind the photographic exposure and photographic decisive moment. 

                                          Fig 2: Barbara Probst Exposure #11A: N.Y.C



One of my chosen images from this body of work, showcases a view of what you would think would be two separate images taken from different angles showcasing different subjects. In fact, what this conjoined image is showing is two different angled images of exactly the same subjects from different vantage points at exactly the same time showcasing a decisive moment within a point in time. In order to archive this, Barbara Probst placed a number of radio controlled cameras around the street of New York that this shoot was taking place. The result of this was an interesting take on using multiplicity within a moment in time. 

There is such a feeling of beaching someone's privacy within this one image. The feeling of being looked upon without realising it by a camera portrayed as CCTV and having a camera photograph you from extremely close up is an uneasy thing. The use of capturing the little girl out of focus portrays capturing something on the move. I think of the effect that paparazzi has on peoples privacy when I look at this image.