Showing posts with label Sam Lewis. Show all posts
Showing posts with label Sam Lewis. Show all posts

Saturday, May 4, 2013

The Legal Lens: Troubling Developments and Narrowing Rights

The Legal Lens
with Samuel Lewis

Q. We took a short break since our last discussion.  Have there been any recent legal developments impacting photographers?

A. There have been a few troubling developments.  The first relates to legislation passed in the UK which permits the government to pass regulations relating to “orphan works.”  As we discussed a few months ago, orphan works include photographs and other copyrightable material where there is no easy way to identify or locate the photographer responsible for the creation of the image or work.

The legislation authorizes the British government to enact regulations that will grant licenses for orphan works.  These licenses will permit the use of a work—a photograph—as if the owner of the rights granted the license.  To put this into more personal terms, suppose that an advertiser found one of your images on the web.  If the advertiser is unable to identify that you own the rights to the image, or that you created the image, or even if they see a name but are unable to locate the right Al Diaz, the advertiser will qualify for a license if it can show that a diligent effort was made to locate you.  At that point, the advertiser will be able to use the image by paying a license fee to the British government, who in turn may deduct administrative costs from the license fee and hold the balance until you can be located.

This legislation may also be an indication of where the law is headed in the U.S.  While orphan works legislation was proposed and failed in the U.S. a few years ago, the Copyright Office has once again gone through the process of gathering information regarding orphan works that may result in another effort to pass orphan works legislation in the U.S.  Given the potentially significant consequences this sort of law may have on photographers, it is important to follow the issue and, where appropriate, voice concerns to lawmakers.

Q. What about IPTC caption information?  I’m putting caption information, including a copyright notice, in all of my images.  Is there a way to keep the IPTC caption from getting stripped off?

A. At least as it stands now, there is no way to keep the IPTC information from getting stripped off.  When you’re dealing with a standardized file format like a JPEG, you’re dealing with a file that contains distinct markers which enable software to read and/or modify the EXIF and IPTC fields.  Since those markers are more or less standard to the format, it is a trivial matter for a programmer to create a program to read the image file, search for the specific marker, and eliminate the data stored with that marker.  The only way to prevent information like a copyright notice or contact information from being stripped out is to store it somewhere other than the typical fields for such information, and this may result in more photographers watermarking their images.

It is also important to realize that some social media websites strip off or prevent access to the IPTC and EXIF information. This is especially true with social media sites like Facebook, Flickr, and Twitter, which strip off some or all of the EXIF and IPTC information, or fail to properly display the information.  The result is an image that can be downloaded without any meaningful way of identifying the person who created the image.

There is a final point worth mentioning here.  Simply including a copyright notice may not be sufficient to increase the likelihood of a potential user of an image finding the photographer who created it.  Photographers who don’t currently include some sort of contact information or link to a website with contact and licensing information should probably begin including this sort of information when editing the IPTC fields.  However, while adding this sort of information will help locate the photographer, the information will only be available if has not been stripped off by one of the social media services.  Thus, photographers should test whether EXIF/IPTC information is available for images uploaded to the various social media sites they use; if the EXIF/IPTC information is removed, careful consideration should be given to whether to upload images to that particular site.

Q. You mentioned there were a few troubling developments.  What else is new?

A. Peter Cariou’s case against appropriation artist Richard Prince suffered something of a setback.  Cariou sued Prince over his unauthorized use of Cariou’s photographs from the book Yes Rasta.  The trial court found that Prince had infringed Cariou’s copyrights, and entered judgment in favor of Cariou.  Now, a federal appeals court has reversed that judgment, and determined that 25 of the 30 pieces of Prince’s artwork fell within the fair use exception to copyright, and thus, do not infringe Cariou’s rights.  The appeals court also criticized the approach the trial court took when analyzing fair use issues, and sent the issue of the remaining five pieces of Prince’s artwork back to the trial court for a determination as to whether those constitute an infringement or fair use (including whether the artwork is transformative in nature).

Photographers should continue to watch how this case develops.  The remaining five pieces of artwork were only minimally altered, and there is a question “whether such relatively minimal alterations render [the artworks] fair uses (including whether the artworks are transformative) or whether any impermissibly infringes on Cariou’s copyrights in his original photographs.”  If the court ultimately finds that Prince did not infringe any of Cariou’s copyrights, such a decision may have significant consequences for anyone who creates images.

Samuel Lewis is a Board Certified Intellectual Property law specialist and partner at Feldman Gale, P.A. in Miami, Florida, and a professional photographer who has covered sporting events for more than twenty-five years.  He can be reached at SLewis@FeldmanGale.com or SLewis@ImageReflex.com.

Note:  The information appearing in this blog entry is not, nor is it intended to be, legal advice, and should not be construed as such.  Rather, the information is provided solely for educational purposes by providing general information about the law.  This blog is not a substitute for legal advice from an attorney licensed to practice in the state where your business is based or where you live. 

There is a message thread on this subject at SportsShooter.com, Click here for the link

Monday, December 24, 2012

The Legal Lens: Instagram's Legal Snafu

The Legal Lens
with Samuel Lewis

Q. Over the last few days, there have been quite a number of postings on Facebook about Instagram, with various people and organizations threatening to boycott the service.  Will Instagram have the right to license images for advertising purposes?

A. What you’ve witnessed is the result of a company attempting to impose heavy-handed terms and conditions on its users.  The uproar started when Instagram announced that it would be changing its Terms of Use (TOU) effective January, 2013.  While perhaps not Instagram’s intention, under the new TOU, users give Instagram the right to use a user’s name, likeness, and even photos in advertising.  The TOU also contain a series of representations, including that the user posting photographs is not violating any privacy rights, and that the user will pay all royalties and fees owing to any person by virtue of a photograph being posted to Instagram.  Separately, these terms can be trouble enough, but together, they have the potential for creating a nightmare situation.

Imagine for a moment that the new TOU go into effect, and that some time later, you used Instagram to post a photograph of a professional athlete prior to a sporting event.  Under those TOU, Instagram has the right to license that image for advertising purposes, and Instgram is not obligated to share the license fees/royalties with you.  Now, it’s bad enough that you’re missing out on sharing in the license fees for the commercial use of one of your images, but under this scenario, the TOU go a step further to add insult to injury.  Since you probably didn’t obtain a model release from the athlete featured in your photo, the athlete now has a claim for the use of his or her image in connection with advertising.  Under the TOU, however, you, the photographer, who used the Instagram service, are responsible for paying “all royalties, fees, and any other monies owing any person by reason of [photos] you post on or through the Instagram service.”  So at the end, Instagram gets to keep the license fees for the commercial use of your photo, and you get to pay the athlete who didn’t sign a model release.

In response to the TOU that were scheduled to goes into effect, National Geographic—who in early December was ranked as the number 1 media brand on Instagram with 588,000 Instagram followers—posted an announcement that it was suspending new posts.  The announcement reads:  “@NatGeo is suspending new posts to Instagram.  We are very concerned with the direction of the proposed new terms of service and if they remain as presented we may close our account.”

Q. You mentioned that the TOU were scheduled to go into effect.  Will they be going into effect?

A. That really seems to be the big question right now.  Instagram’s co-founder and CEO, Kevin Systrom, announced that it was not his company’s intention of selling users’ photos.  However, that did not stop numerous celebrities and companies from announcing publicly that they would discontinue use of Instagram.  In an apparent effort to avoid losing more users over the TOU snafu, Instagram has now scrapped the TOU that were scheduled to go into effect on January 16, 2013, and replaced them with a new set of new terms.  While the most recent TOU seem to omit some of the language that sparked the uproar, it still includes some potentially problematic verbiage.

Under the most recent TOU, the license that users grant to Instagram is “royalty-free” and “sub-licensable,” meaning that Instagram will have the right to license the photos posted through the service without having to share royalties or license fees with the photographers.  The only exception to the license is Instagram’s privacy policy.  While it may be possible for individual users to indicate that photos are private and not for public viewing, that limitation won’t help entities like National Geographic.

It also bears noting that the new TOU may not avoid the nightmare situation I’ve already described.  They are just not as in-your-face as the TOU that sparked the uproar.

The new TOU also contain some fairly comprehensive language that limits Instagram’s liability, requires its users to pay the cost of defending Instagram against claims made by virtue of images posted to the service, and a provision that significantly limits the time in which a user may bring a claim against Instagram.

The new terms also include an arbitration provision.  Arbitration is a form of alternative dispute resolution, and it allows people to resolve their disputes as they would in court.  There are pros and cons to arbitration, which are more thoroughly explained in my recent article, Arbitration Friend Or Foe? (http://www.digitalphotopro.com/business/arbitration-friend-or-foe.html) which appeared in the November 2012 Digital Photo Pro magazine.  One potentially positive aspect of the TOU is that it allow users to opt out of arbitration by notifying Instagram in writing within 30 days of the date the user became subject to the arbitration terms (for existing users, that’s within 30 days of when the new terms go into effect), and the notice must be sent to:  Instagram, LLC ATTN: Arbitration Opt-out 1601 Willow Rd. Menlo Park, CA 94025.  Given the time-limitation, users of the service should decide for themselves whether to reject the arbitration and notify Instagram of that decision.

The new TOU contain many more changes than I’ve mentioned.  Anyone who uses Instagram should really compare the old terms and new terms to get a sense of what will be changing.  The current terms can be found here:


and the terms scheduled to go into effect on January 19, 2013 can be found here:



Samuel Lewis is a Board Certified Intellectual Property law specialist and partner at Feldman Gale, P.A. in Miami, Florida, and a professional photographer who has covered sporting events for more than twenty-five years.  He can be reached at SLewis@FeldmanGale.com or SLewis@ImageReflex.com.

Note:  The information appearing in this blog entry is not, nor is it intended to be, legal advice, and should not be construed as such.  Rather, the information is provided solely for educational purposes by providing general information about the law.  This blog is not a substitute for legal advice from an attorney licensed to practice in the state where your business is based or where you live.


Saturday, September 22, 2012

The Legal Lens: Photographers and the Written Contract

Photos by Sam Lewis
By Al Diaz 
aldiaz@aol.com 

As a Miami Herald staff photographer I've had a limited need to learn about the legal aspects of the business of photography; contracts, copyright, sales and marketing. Bottom line, the Herald owns everything. 
    
Until recently the only legal concerns I’ve had is knowing my civil rights while photographing in public places, or how to avoid arrest while doing my job covering a fire, riot, armed conflict or a simple traffic accident. 
    
With the state of the newspaper industry I have job insecurity. Hoping for the best but preparing for the worst I spend my spare time building my webpage, tweeting, blogging, branding and basically getting ready for the future. 

Now that my social media is up a running I need to educate myself on the legal side of running a photography business. 

It’s time to ask my friend Sam Lewis a few legal questions and how to protect myself while pursuing our profession.  In addition to being an attorney, Lewis is a professional photographer who interned at the Herald a few years after I joined the staff there.


The Legal Lens will be a monthly Q&A with Lewis on all legal aspects of photography. 

If you have questions or suggestions for this feature, please e-mail them to AlDiaz305@aol.com or SLewis@ImageReflex.com.


Sam Lewis
The Legal Lens 
With Sam Lewis
SLewis@FeldmanGale.com

Q. Let’s take a few minutes to talk about contracts.  Why should photographers use written contracts?

A. I encourage all clients, especially photographers, to use written contracts.  When it comes to creative endeavors such as photography, written contracts can play a vital role in managing client expectations, which in turn protects photographers from the sort of claims that a dissatisfied client may assert. Click here for an example 

Even where a photographer has a good working relationship with a client, a written contract can be a useful and effective tool for clarifying the scope of a job to be done, 
and ensuring that everyone knows where they stand if for some reason things go wrong.

Q. Are there certain concepts that should be covered in a photographer’s contract?

A. The concept with which most photographers will no doubt be familiar is that of usage and compensation.  The agreement should clearly detail any usage terms, and where appropriate, who will own the copyrights to the images; the compensation should also be detailed. Where possible, the contract should include any details of the job that are known, and who will be responsible for various tasks that may go along with the job.  For example, who will be responsible for engaging any models or makeup artists, obtaining model and property releases, securing permits, etc.?  Addressing these sorts of issues up front goes a long way towards avoiding a problem on the day of the shoot.

The contract shouldn’t stop there.  It should also detail how disputes will be resolved, whether there are any limitations on the photographer’s liability, etc.  For a further discussion of what should be included, see my article published in the November 2009 Digital Photo Pro magazine, “Get It In Writing:  A lawyer’s secrets to better contracts”

Q. Some organizations like ASMP or PPA offer form contracts for their members.  What are your thoughts on those contracts?

A. Using a form contract is probably better than nothing, but you’re far better off using a contract that is tailored to your business and where you work, and has been prepared or reviewed by an attorney familiar with the laws of the state in which your business is based.  Since contracts are typically governed by state law, and issues such as limitations on claims can vary from state to state, it is a good idea to spend some time with a local lawyer who is knowledgeable about such issues.

It is also important to understand the legal ramifications of what is contained in the agreement, and this applies equally to form agreements and customized agreement.  Some of the form contracts include provisions that may have unintended consequences.  In an upcoming article slated to appear in Digital Photo Pro, I discuss some of the potential consequences of including an arbitration provision in a contract.

Samuel Lewis is a Board Certified Intellectual Property law specialist and partner at Feldman Gale, P.A. in Miami, Florida, and a professional photographer who has covered sporting events for more than twenty-five years.  He can be reached at SLewis@FeldmanGale.com or SLewis@ImageReflex.com.

Note:  The information appearing in this blog entry is not, nor is it intended to be, legal advice, and should not be construed as such.  Rather, the information is provided solely for educational purposes by providing general information about the law.  This blog is not a substitute for legal advice from an attorney licensed to practice in the state where your business is based or where you live.