Finlay someone better able to express what I've been saying for 25 years.
You are not a storyteller - Stefan Sagmeister @ FITC from FITC on Vimeo.
Tags: Photo, Photography, Photographer, Photo Studio, Photo Assistant, Photo Assistants, Photoasssistants
SHOWstudio: Evening In Space - Daphne Guinness / David LaChapelle / Tony Visconti from SHOWstudio on Vimeo.
Daphne Guinness consolidates her move into music with a theatrical, mesmerising new music video directed by acclaimed image-maker David LaChapelle. Evening in Space was produced by Tony Visconti and is the first single from Guinness' upcoming debut album, which is billed for release in September 2014. The video features custom fashion by many of Guinness' favourite houses, including Iris van Herpen and Noritaka Tatehana, alongside pieces from her own celebrated clothing collection.
Song Writing and Performance: Daphne Guinness Music Production: Tony Visconti Video Direction: David LaChapelle
Tags: Daphne Guinness, David LaChapelle, Tony Visconti, Photo, Photography, Phtographer, Director, Photo Assistant, Photo Assistants, PhotoAssistants, Photo Studio
A federal judge has upheld a $1.2 million jury award in favor of photographer Daniel Morel, after determining that there was sufficient evidence presented at the trial last year to support the verdict.
Morel won $1.2 million in damages after a federal jury determined that Getty and AFP willfully violated his copyrights by uploading eight of his exclusive news images of the 2010 Haiti earthquake, and distributing them without his permission. The award also included an additional $20,000 damages for violations of the Digital Millennium Copyright Act.
Getty and AFP had appealed the $1.2 million award on the grounds that there was not enough evidence presented at the trial to establish willful copyright infringement. They had asked the court to vacate the jury’s finding of willful infringement, reduce the award to Morel, or grant a new trial.
A federal judge rejected the appeal.
“There was evidence from which the jury could have concluded that the defendant’s infringement (and particularly AFP’s) was not just willful but reflected a gross disregard for the rights of copyright holders,” US District Court Judge Alison Nathan wrote in a decision handed down yesterday. She added, “In light of all the consideration that the jury was entitled to consider, [reduction] of the $1.2 million statutory damages award is not required.
“The evidence was plainly sufficient for the jury to conclude that AFP’s infringement was willful under either an actual knowledge or reckless disregard theory,” Nathan said. She said the evidence for willfulness on Getty’s part was “somewhat thin” in comparison to the evidence against AFP. But she went on to say that the evidence of Getty’s willfulness “was sufficient to support the jury’s verdict.”
Morel had uploaded his images to Twitter, offering to license them to news outlets. The images were stolen and re-distributed by another Twitter account holder. Judge Nathan cited evidence presented at trial that Vincent Amalvy, AFP’s Director of Photography for the Americas, knew or should have known that the images were actually Morel’s, and that AFP didn’t have permission to distribute them.
The evidence against Getty for willful infringement was that it left Morel’s images on its web site under a false credit for more than two weeks after AFP sent a “kill notice” telling Getty to remove the images.
The award was the maximum amount of statutory damages possible under the law.
AFP and Getty had asked the court to reduce the $1.2 million award on the grounds that it was based on a “speculative” figure of actual damages amounting to $275,000 in lost sales. Judge Nathan said that on the basis of actual downloads (1,000 or more) of the image and sale prices, the actual damage estimate was reasonable. But she went on to say that juries aren’t required in any case to base statutory awards on actual damage estimates.
She also rejected arguments that the $1.2 million statutory award was “instinsically excessive.” Noting that courts defer to the prerogative of juries to set damage awards and rarely set them aside unless they “shock the judicial conscience and constitute of denial of justice,” Nathan said AFP’s actions in particular could be seen as “gross disregard for the rights of copyright holders” and let the jury award stand.
At the same time, Nathan upheld a $10,000 jury award against AFP for Digital Millennium Copyright Act (DMCA) violations, while vacating a $10,000 award for DMCA violations against Getty.
The DMCA makes it unlawful to intentionally remove or alter copyright management information, or to knowingly provide or distribute false copyright management information with intent to conceal infringement.
Evidence presented at trial showed that Vincent Amalvy, the AFP Director of Photography, knew that Morel’s images were falsely credited to another Twitter user, but distributed the pictures with the false credit anyway, Judge Nathan wrote in her decision.
Getty violated the DMCA by continuing to distribute the images under a false credit, after receiving notice from AFP to remove the images, the judge said. But Getty was not liable under a DMCA provision for distributing the images with knowledge before the fact that the image credits had been illegally altered.
Willkie Farr & Gallagher LLP press release below:
Court Upholds Landmark Jury Verdict for Willkie Client, Photojournalist Daniel Morel
New York, NY (August 14, 2014) — U.S. District Judge Alison Nathan of the U.S. District Court for the Southern District of New York yesterday issued a Decision and Order upholding the jury’s verdict that Agence France-Presse and Getty Images (US) Inc. must pay $1.22 million for willfully infringing photojournalist Daniel Morel’s copyrights in his award-winning images of the 2010 earthquake in Haiti.
In the Decision, the Court rejected defendants’ argument that there was insufficient evidence to support the jury’s finding that the defendants acted willfully when they wrongfully misappropriated and transmitted Mr. Morel’s photographs to over 1,000 of their subscribers and licensees. The Court also left intact the jury’s award of the maximum statutory damages available under the Copyright Act. The Court held: “There was evidence from which the jury could have concluded that Defendants’ infringement (and particularly AFP’s) was not just willful but reflected a gross disregard for the rights of copyright holders.” After learning of the Decision, Mr. Morel said, “I am grateful that Judge Nathan recognizes the value of a photojournalist’s work and that she is holding AFP and Getty Images fully responsible for what they did to me. I hope no other photojournalist will have to go through a similar ordeal.”
The Willkie team is led by partner Joseph Baio in the firm’s New York Office. ***************************************************** Willkie Farr & Gallagher LLP is an international law firm of over 600 attorneys with offices in New York, Washington, Paris, London, Milan, Rome, Frankfurt and Brussels. The firm is headquartered in New York City at 787 Seventh Avenue. Tel: 212.728.8000.
Tags: Copyright, Morel v. AFP, Verdict, Getty, Twitter, Daniel Morel, Photo, Photography, Photographer, Photo Assistant, Photo Assistants, PhotoAssistant
Our list of the 10 most important things you need to know about Magic Lantern (though not necessarily in order).
This was the primary reason I first tried Magic Lantern with my Canon EOS 5D Mark II.
No newsflash: it’s critical for filmmakers to be able to monitor audio in real time. How else are you going to know that the wireless lav mics you worked so hard to set right have just gotten a burst of static from a passing truck and you need to reshoot?
Magic Lantern allows you to visually monitor audio levels in real-time. While a whole not-so-cottage industry has arisen from the fact that audio is not Canon’s strong suit (Zoom H4n, anyone? JuicedLink, perhaps?), it sure makes things much easier, less expensive and less bulky when you can feed an audio signal directly into the camera and know what’s actually happening with VU meters.
Even more magical, and another glaring omission on too many Canon DSLR’s: no headphone jack. With Magic Lantern installed, not only can you SEE what’s coming across from your audio source – you can HEAR it, thanks to ML wizardry which can turn either the USB port or the remote port into a headphone jack (NB: you’ll need a special cable like this one to adapt the signal out to a regular pair of headphones like the Bose QuietComfort 15 – or risk damaging the ‘phones).
Pro cameras have them; the Panasonic GH4 and Sony A7s have them; but most Canons don’t. These are a simple set of visual overlays that show you – without having to put on your bifocals or hope your EVF/Screen is properly calibrated – whether you are blowing out your highlights or crushing your blacks.
What was that about bifocals? Even if you have 20/20 vision, achieving critical focus on Canon DSLR’s is notoriously difficult (before I bought an external EVF, I thought it was me – it wasn’t). Focus peaking is another simple visual indicator to help you determine when the thing you want in focus IS in focus. Truly a gift from the Magic Lantern community.
A bit of a surprise when I found this: you can use Magic Lantern to set two different focus points and then let the camera move between them – it’s a software driven focus pull. Very cool feature, though not as flexible as a human being doing the actual job. And, it must be said, both the Canon EOS 70D and Canon EOS Rebel SL1 now allow you to do the same thing more easily in production-robust software.
Maybe the single most exciting feature of Magic Lantern, this allows a filmmaker to capture the full power of Canon’s sensors – and the difference in image quality, along with the ability to operate on the footage in post – is night and day compared to the H.264 output. Then again, so is the increase in storage required and the workflow necessary to bring RAW footage into an NLE, NOT in RAW’s favor. NB: RAW doesn’t work on all Canon DSLR’s, and is still very much in process.
This is a very clever way of increasing the effective dynamic range of Canon DSLR sensors. The ML community has achieved this by programming the software to identify highlights and shadows – and then to differentially set ISO in those areas (low and high, respectively) to prevent highlights from being blown out or shadows to be crushed. With this written, it is achieved at the expense of resolution in those areas (it’s halved), but the result can be stunning nonetheless.
With Magic Lantern, you don’t need an external remote or intervalometer – it’s built right into the software.
ML is an open source collaboration of truly passionate and brilliant people who wanted to get more from Canon hardware than Canon itself would allow. They’ve done an amazing job.
AND IT’S FREE!
But they are equally clear that they do not – cannot – make any claim to being error-free, nor immune from crashing your entire camera. CAVEAT EMPTOR. I’ve personally experienced successfully loading up ML on one flash card and booting into it, but unsuccessful loading it up on to a second card.
Especially with the video-centric Panasonic GH4 and Sony A7s, the marketplace has shifted under Canon’s feet. They may yet rectify this situation at Photokina this fall – but they may not. In the meantime, ML may keep you in the Canon fold for a bit longer.
I mean to take nothing away from Panasonic’s tremendous accomplishment with the GH4.
And I don’t mean to overstate the case.
But am I the only one who’s looking at the little Rebel SL1 and see that it has better autofocus than every Canon body with the exception of the 70D and can take ALL current Canon lenses; has low light sensitivity on a par with – actually slightly better than – the GH4; and weighs just 370g without battery or SD card and 492g with; and that it is thus lighter than the Panasonic GH4 similarly configured at 560g?
Of course, the GH4 has better dynamic range and color depth according to DxOMark – and a little thing called internal 4K recording, stellar EVF and more — but hey, Canon, are you listening? You could do this if you truly wanted to.
In the meantime, as I’ve written before, thank goodness we have Magic Lantern.
Tags: Magic Lantern, CanonPhoto, Photo Assisatnts, Photo Assistant, Photo Studio
Magic Lantern allows you to visually monitor audio levels in real-time. While a whole not-so-cottage industry has arisen from the fact that audio is not Canon's strong suit (Zoom H4n,JuicedLink), it sure makes things much easier, less expensive and less bulky when you can feed an audio signal directly into the camera and know what's actually happening with VU meters.
Pro cameras have them; the Panasonic GH4 and Sony A7s have them; but most Canons don't. These are a simple set of visual overlays that show you – without having to put on your bifocals or hope your EVF/Screen is properly calibrated – whether you are blowing out your highlights or crushing your blacks.
But am I the only one who’s looking at the little RebelSL1 and see that it has better autofocus than every Canon body with the exception of the 70D and can take ALL current Canon lenses; has low light sensitivity on a par with – actually slightly better than – the GH4; and weighs just 370g without battery or SD card and 492g with; and that it is thus lighter than the Panasonic GH4 similarly configured at 560g?
Manfrotto has announced a new line of backpacks and accessories, the Pro Light series. The new line includes backpacks designed for both still photographers and videographers, holsters and rain covers, all designed with an emphasis on portability and versatility. The five styles of backpacks for still photographers offer side access for another route to your gear and are priced from $220 - $310 USD/£199.95 - £249.95 GBP. See the video and press release below for more information.
Manfrotto Pro Light Bags Backpack MB PL-3N1-25 from Manfrotto on Vimeo.
Lightweight, Durable Pro Light Collection Strikes the Perfect Balance for Professionals on the Move
Upper Saddle River, N.J. (August 11, 2014) – Manfrotto, a leading global distributor of premium photo, video and lighting support products and accessories, proudly introduces its new Pro Light Bags Collection, designed for on-the-move professional photographers, videographers and advanced hobbyists. Crafted using the most innovative materials and design techniques, the Pro Light bags are the lightest carrying solutions in the Manfrotto range, while providing superior protection and ease of access.
"Manfrotto offers the most comprehensive range of premier quality carrying solutions on the market today, each of which was designed with specific users and applications in mind," said Paul Zakrzewski, Director of Marketing for Manfrotto Distribution, Inc. "The Pro Light Collection is certainly no exception in that it was created to meet the needs of professionals on the go. These bags were designed specifically for professionals who need to carry a lot of high end gear in a comfortable, highly-protective case and then have quick, easy access to all that gear at the drop of a hat."
Manfrotto's Pro Light bag line offers a comprehensive range of carrying solutions designed specifically for photographers and videographers who need to bring a considerable amount of gear on active assignments. Versatile, functional and extremely ergonomic, Manfrotto's Pro Light photo bag range features a number of intuitive, creative solutions that facilitate rapid access to equipment. The 3N1 Backpacks, for example, enable users to rotate the backpack to their chest and access their gear via the fast-opening side pocket within seconds -- without ever having to remove the bag from their body.
"Innovation is a major part of the Manfrotto DNA and the Pro Light Collection is representative of that," noted Zakrzewski. "As the needs and preferences of the photo and video communities continue to evolve, so must the equipment that we develop to support them in their work. With the addition of the Pro Light Collection to the Manfrotto family of bags, we now offer innovative, reliable carrying solutions for all skill levels, personal preferences, and imaging missions."
Pro Light bags have top wearability and ergonomic access solutions, combined with a stylish Italian design true to the Manfrotto brand. Its tough outer layer and high-resistant nylon legs provide the greatest protection to the gear inside.
Key features of Manfrotto's Pro Light bags include:
Manfrotto's Pro Light Bags Collection includes a total of 28 product SKUs, including holsters, photo backpacks, video backpacks, rolling organizers, video cases, and accessories such as element covers and camera straps. The bags are available now at retailers nationwide, and range in price from $44.00 to $550.00.
To learn more about Manfrotto's extensive range of bag options and collections, visit http://www.manfrotto.us/camera-bags-collection.
For additional information or to learn more about Manfrotto's photo and video products and accessories, visit www.manfrotto.us. Follow Manfrotto on Facebook at https://www.facebook.com/ManfrottoSoX or on Twitter @manfrotto_us.
Tags: Manfrotto, Photo, Photographer, Photography, Photo Assistant, Photo Assistants, Photographers Assistant
Lady Gaga by Robert Wilson - "Ingres"
Lady Gaga posed for nearly 6 hours to appear in Robert Wilson's video portrait, recreating Ingres' 19th century portrait of Mademoiselle Caroline Rivière. The moving portrait hung at the Louvre last year and was brought to New York's Watermill Center last month.
Tags: Robert Wilson, Lady Gaga, Living Portrait, Photo, Photography, Photographer, Photo Assistant, Photo Assistants, Photographers Assistant
Following Helmut Newtons lead and using the same publisher: TASCHEN, Annie Leibovitz publishes Her Life’s Work in a Limited Edition Book that looks strangely like the Helmut Newton book SUMO that was published nearly 15 years ago. Were the Helmut Newton presentation included it's own fold out chromed metal table; Annie's book gets a Tripod on clear plexi treatment. I gotta say that for $2500 it should really be a Gitzo Carbon Fiber Tripod.
When you’ve captured as many photographs as renowned photographer Annie Leibovitz long and storied career surly made it a difficult task to choose the best works for this publication; consider that fact that she has been Shooting for over 40 years for clients such as: Rolling Stone and Vanity Fair.
Her latest book is a $2,500, 476-page visual retrospective of her career.
CLICK IMAGES TO VIEW LARGER
Annie Leibovitz has photographed everything from politics to fashion, and Rockstars. This massive book will features her most iconic images, as well as some rare photographs. It is scheduled to be offered in two variations: a $2,500 Collector’s Edition and the $5,000 Art Edition.
Collector’s Edition is limited to 10,000 signed and numbered copies. And the Collector’s Edition willalso allow you to choose a dust-jacket for your new coffee table book, with 1 of the following images — Whoopi Goldberg (Berkeley, California, 1984), Keith Haring (New York City, 1986), David Byrne (Los Angeles, 1986), and Patti Smith (New Orleans, 1978).
If the Art Edition (which is yet to be released) is more to your liking you will receive the entire collection of dust-jackets, as well as a signed archival print of Leibovitz’s photograph of Keith Haring. This one is limited to 1,000 copies.
Regardless of what edition you choose, you’ll receive a handy little tripod, designed by Marc Newson, that will cleverly hold your book. Rather appropriate considering this baby costs as much as a pro-level DSLR.
If you have a spare $5000 and just need to have one of these books before they appear on eBay or East Village books, you can head on over to the Taschen site and your very own edition. The Art Edition is not yet released, you can still pre-order it to ensure you aren’t left out of the 1,000-copy run.
ALL IMAGES COPYRIGHT Annie Leibovitz
Tags: Annie Leibovitz, TASCHEN, Helmut Newton, Book, Fine Art, Photo, Photography, Photographer, Photo Assistant, Photo Assistants, Photographers Assistant
What words would you use to describe your photography brand?
Fun? Reliable? Adventurous? If you struggle to answer, our guide, 10 Branding Secrets for Photographers, will help you define and build a strong brand that will set you apart from the competition and attract the clients you want.
In this guide, you’ll also learn:
How to communicate your photographic style and personality
How to determine what aspects of your business are unique
Why developing a strong name, logo and aesthetic across all platforms is crucial
Why a consistent voice and style must be part of everything you do - including your website, social media, and business cards
Use these 10 secrets to build a brand that attracts your ideal market, accurately communicates your specialty and creates unique experiences for your clients.
Download your copy today!
~The PhotoShelter Team
Tags: PhotoShelter, Branding, Photographer, Photo, Photography, Photo Assistant, Photo Assistants, Photographers Assistant
Last month, Apple announced that they were ceasing development of the beloved Apple Aperture. While the software is still usable and available for purchase and download, it has a timeline on how long it will work, as new camera profiles will no longer be supported. Fortunately, Adobe has made the transition a little easier, with a simple transition guide.
The guide, available for free, will help people move their catalogs and settings from Aperture over to Adobe Lightroom 5 with ease. If you're one of those still grasping on to Aperture, perhaps now is a good time to try out Lightroom 5, which is available for $9.99 along with Adobe Photoshop CC through their Photography Plan.
Click here to view the guide.
Tags: Aperture, Lightroom, Creative Cloud, Photo, Photographer, Photography, Photo Assistant, Photo Assistants, Photographers Assistant