Why I Rejected Your Request for Free Photos

Why I Rejected Your Request for Free Photos

This post is dedicated to all the people who have completely lost their sense of common decency. I have a destructive humbleness that most people do not understand (myself included). I do not have a Patreon page, I do not run ads on my website, I have never asked for donations. However, for some reason, I get the feeling that this leads people to believe I do everything for free. This could not be further from the truth. You want to use my work? Great! How about you pay me for it? No? Of course not, what was I thinking. I’m sorry.

I don’t know how I can make this easier to understand: asking a professional (any professional – not only photographers) for free work is disrespectful, rude, and insulting. You do not want to be that person. Also, let’s make one thing clear, people: unless we have an agreement in place, you don’t get to decide for me how to use my photos.

This reminds me of my first Ph.D. supervisor, who said that giving photos away was the “humane” thing to do. Ok. Explain to me how giving up your copyright is considered humane. After all, I don’t see professional authors putting their texts in the public domain for humanity to enjoy or adapt without expecting some sort of payment.

Don’t get me wrong. I do like to put myself out there for the right cause, by volunteering or providing imagery free of charge. However, I feel that more and more entities are trying to take advantage of my good will, almost as if it became a trend.

I became completely self-funded as of last year. This lifestyle is not for the faint of heart, and it is often ridden with periods of anxiety and frustration. In any case, when too many people ask me to give away free stuff, how do you expect me to buy food? Pay for the roof above my head?

“Well, how about you get a real job?” you might ask.

Fair enough. But you know what turns the content I create into a paid job? The fact that someone wants to use it.

Maybe you do not like viewing photography, entomology, or science communication as a job — in that case, I cannot help you. A lot has been said and written about working for free — here’s an excellent post for example, and here’s an analysis why professional photographers cannot work for free.

Needless to say, nowadays I almost never give photos for free. One thing I learned in this business is that there will always be some people who will hate you. Whether it is because you refuse to give photos for free, or because your rates are too high, or maybe because they are jealous of your work. I am not even counting people who just hate your genre/niche of photography yet still bother to comment on photos instead of looking away. Whatever it may be, it is impossible to satisfy everyone, so I do not try. People are judgmental.

I still think that from time to time, it is important to make a contribution to a cause you support (more on that later). However, when someone takes advantage of your generosity and tries to make a personal gain from it – run home! And don’t stop until you get there.

All these publishers paid for the rights to use my photos. So why shouldn’t you?

I must say, if you receive a negative response to your photo request, be respectful. Whether I choose to give something for charity is entirely up to me, not the person requesting the image. I go over the photos and the intended use and analyze each case by its characteristics. If I decide to reject it, it is not personal; it means that I just could not see how it fits my mission.

Another reason for a refusal is when I do not see how the use can promote me further as a photographer. In any case, if your request was refused please do not start throwing insults. That’s not going to win you any fans, and will definitely not get you the photo for use free of charge — not this time and not the next time around.

Also, if you inquire about free images and you also receive a paycheck for doing this, there is a 100% chance that I will refuse to give photos for free. Allow me to demonstrate by using typical examples for this behavior.

Case #1: The Networking Card

A person who I do not know contacts me to request a photo for their upcoming publication. It is a small production, a personal project. There is a section in the book describing a rare phenomenon or a rarely encountered species, and my photos are perfect to illustrate said subject. Alas, there is no budget for photographs.
In this case, I reject the request on the basis that anything rarely documented has its own value.

Examples for such subjects are Epomis beetles, swarming locusts, tusked weta, adult botflies, etc. All these subjects took a substantial investment of time, money, and physical preparation to get the final shot. Giving those photographs away free of charge devalues my personal investment, and makes it harder to charge normal fees for use of similar photos later. It would also be unfair towards those who have already paid a licensing fee to use the photos.

To my understanding, some people do this to “test the waters” and see if the photographer is someone worthy of working with abusing in the future. In one specific case, when I rejected the request I got this reply:

Good luck making a living with the images, you have some nice shots, and publishing does not pay well…. I have for instance plenty of pictures of the ****. I just thought it might be a nice connection.

Oh, really? So you just wanted to make acquaintances? How very nice of you. How about you start respecting someone’s work and time instead of expecting to get free stuff.

Case #2: The Exposure Card

Many of us in the creative scene have been there: photographers, artists, illustrators, and designers. Someone from a highly reputable institution contacts to request free work in return for exposure to the creator.

Here’s the thing. You claim that by sharing my work I will gain exposure. Correct me if I am wrong, but you contacted me to ask about using my work. It seems to me that my name is already out there; I do not need any further exposure. Why don’t you take a minute to think about it and get back to me, hopefully with a budget next time.

Case #3: The Unintentional Infringement Card

This case is a little different because it starts with a copyright infringement. A user uses my photo as a thumbnail for their video/article/social media profile. Since this use is without permission, I take it down as a copyright infringement. The user contacts me and requests to undo the DMCA takedown, so they can have their original post back online. I explain that takedowns are being recorded, and the only way to reverse one is to comply with the conditions of use, in other words, licensing the photo.

I also add that putting my photo as the thumbnail encourages people to click the post when being shared on social media, therefore my photo directly promotes the post. I suggest to the user the fair solution of reuploading their post minus my photo. Then hell breaks loose and I am being accused of greed, trying to extort money and what not.

I wish to clarify two things:

1) A DMCA takedown is not an attempt to extort payment via licensing fees. It is what it is: regaining control over a copyrighted image that has been used inappropriately or without prior permission.

2) Professional and polite communication is key in addressing cases of copyright infringements, as well as any image use inquiries. It is crucial to be clear, concise, but still provide all the relevant details. I have often been accused of having a “patronizing/condescending tone” by infringers. I can understand how polite speech can seem this way when explaining to someone their unauthorized use of intellectual property. If you cannot communicate in a civilized manner, you are not helping to solve the issue.

I will mention one specific instance here, in which someone used my photo on their personal page on social media. When I called them out on it, I got this amazing reply (see closing paragraph):

The road to hell is paved with good intentions.

Way to go on winning an argument. No better way to get me to block you than diverting from the main topic of discussion into accusatory politics.

Case #4: The “You Owe Me” Card

A person whom I know requests photos for commercial use (and that’s important) free of charge. They also inform me that they do not intend to credit me as the photographer, sign a licensing agreement detailing the specific use, or pay anything for the use. Every time I confront this, I think I misheard. You said no credit, no licensing agreement, AND no pay? So absolutely nothing in return? Truly an offer I cannot refuse.

I refuse.

Then I receive the classic response of “Well I didn’t need those photos anyway, I just gave you the chance to be human again” (see case #1). First of all, thank you for giving me that chance to prove myself! Highly appreciated. But let me ask you, what did you think was gonna happen? You think just because we know each other you can take my work and do with it as you please? I don’t think so. That ain’t how it works around here. And if you did not really need the photos, why did you waste my time?

It Is Not All Bad

I understand that some of these examples can paint me as a jerk, someone who never makes a personal contribution towards others in need. I therefore want to point out that occasionally I do allow the use of my photos with little or no return (the bare minimum is a copy of the publication though).

I was recently contacted by a friend who requested photos for an upcoming book about arachnids in Israel. Since there was no budget for it, I would normally reject the request. However, in this case, the two authors are responsible for my professional background: one served as my mentor and guide to the wonders of the natural world when I was a kid, the other taught me entomology at university. It is thanks to their amazing nurturing that I am who I am today.

In addition, I see the importance of publishing a popular book about arachnids in Israel as something that can spread the knowledge and promote appreciation of this often-mistreated arthropod group. The authors offered a signed copy of the book when published, which I see as a valuable return. I was happy to respond positively to this request for photos, and I hope the new book will be well-received.


About the author: Gil Wizen is a naturalist and photographer who has a great affection for small creatures. The opinions expressed in this article are solely those of the author. Wizen is a science communicator who’s involved in creating educational programs. His photos have been featured in numerous magazines, books, newspapers, and broadcasted media. You can find more of his work and writing on his website, Facebook, and Twitter. This article was also published here.


Source: PetaPixel

Why I Rejected Your Request for Free Photos

Sara Lanzi, the Designer Approved by Rei Kawakubo

Sara Lanzi, the Designer Approved by Rei Kawakubo
Most burgeoning designers dream of a mentorship with the revolutionary Rei Kawakubo, and for Sara Lanzi, the experience has helped to catapult her into the limelight. Since showing her first collection during Paris Fashion Week in 2007, Kawakubo has been a silent figure, popping into Lanzi’s studio each season to view her collections composed of subtle serene colors, voluminous silhouettes, and whimsical designs.

Today, the self-taught designer heralding from Perugia, Italy is well on her w…

Keep on reading: Sara Lanzi, the Designer Approved by Rei Kawakubo
Source: V Magazine

Sara Lanzi, the Designer Approved by Rei Kawakubo

These Photos Show the Trails Used by Irish Catholics to Reach ‘Secret Masses’

These Photos Show the Trails Used by Irish Catholics to Reach ‘Secret Masses’

Photographer Caitriona Dunnett has spent years doing background research for her photography project Mass Paths, which depicts the old trails used by Irish Catholics for attending “forbidden mass.” The photo technique used is the “digital contact negative.”

From the 1690s, Ireland’s parliament was controlled by Protestants and strict laws were passed to oppose the Catholic majority. Catholics were not allowed to become lawyers, judges, or vote. They were also banished from the military and were not allowed to teach or even own a horse worth more than £5.

The restrictions were many, and this gave rise to “forbidden mass,” to which Catholics would sneak away out of sight and conduct their worship in secret.

It was only in 1920 that the last laws against Catholics were revoked.

Tea toned cyanotype of detail of Lyracrumpane mass path/ reflection of sun in river (year 2014)

“The locations of these paths were traditionally passed on by word of mouth and local knowledge handed down through generations,” Dunnett tells Atlas Obscura. “I discovered the paths by doing searches on the Internet and finding little snippets posted by schools doing projects on local history, parish newsletters informing congregations about annual mass at the mass rock, and walking clubs that give directions, using penal sites as way-markers.”

Tea toned cyanotype of Cnoc Na Toinne Mass Path/ zig zag path going up mountain (year 2014)

Dunnett did the project with digital contact negatives. She shot each photo using a digital camera before converting them to negatives in Photoshop. Then she printed the negatives onto acetate before contact-printing them onto a paper coated with cyanotype formula. The prints were then left in a bath of vinegar and water and then washed in water. Her prints were toned in a bath of tea for a few hours, giving them their “historic” color.

“I like the idea of the process being layered like the Irish landscape, which has been coated over time by personal and national narratives,” says Dunnett.

Tea toned cyanotype of path to Catsby Cave/ shadow of tree on grass with daisies (year 2015)

Dunnett’s Mass Paths project is exhibiting at Custom House Studios and Gallery in Westport, County Mayo, Ireland from March 22 to April 15, 2018. She also has a crowdfunding campaign to support her exhibition, which has now surpassed its target.

You can find more images from the series on Caitriona Dunnett’s website.


Image credits: Photographs by Caitriona Dunnett and used with permission


Source: PetaPixel

These Photos Show the Trails Used by Irish Catholics to Reach ‘Secret Masses’

Ep. 248: The Star Who Pays In Exposure Bucks – and more

Ep. 248: The Star Who Pays In Exposure Bucks – and more



Episode 248 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Playemail or RSS!

Featured: LUMIX Ambassador, PhotoJoseph

In This Episode

If you subscribe to the PetaPixel Photography Podcast in iTunes, please take a moment to rate and review us and help us move up in the rankings so others interested in photography may find us.

Show Opener:
LUMIX Ambassador, PhotoJoseph opens the show. Thanks PhotoJoseph!

Sponsors:
– Get 1 month of Format’s Pro level online portfolio platform for FREE at Format.com/petapixel
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– More at LensShark.com/deals.

Stories:
A star thinks exposure is acceptable payment for wedding photography. (#)

A new Kickstarter campaign for the world’s first variable graduated ND filter. (#)

An Indiegogo campaign for a light painting device crushes its goal. (#)

Hasselblad’s new 400 megapixel monster…and corresponding price tag. (#)

A whistleblowing photographer loses his job…and more. (#)

Cascable, a mobile digital photography assistant with recipes. (#)

Outtakes

My other podcast with Brian Matiash, the No Name Photo Show.

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on TwitterInstagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”


Source: PetaPixel

Ep. 248: The Star Who Pays In Exposure Bucks – and more

I Shot a Short Film with the Panasonic GH5S: Here Are My Thoughts

I Shot a Short Film with the Panasonic GH5S: Here Are My Thoughts

A few weeks ago I was lucky enough to get my hands on the brand new Panasonic Lumix GH5S in time to start shooting for our new short film 4:17 AM. The shoot was going to take place mainly at night and early morning, so when I heard about the GH5S, I thought it would be the ideal testing bed for the new camera.

I’ve also spent the last few months assembling a collection of anamorphic adapters and associated accessories and I decided that this project would suit shooting some scenes in anamorphic too.

The concept of the film that Isabel, our creative director, developed was to attempt to abstractly represent the turbulence of the human relationship with sleep and to visually show the moments, mental crossroads and the drifting in between consciousness.

You can see the full film here:

Shooting the Film: Technical Details

As a super small team that consisted of Isabel, myself, Declan (who was acting), and fellow Panasonic ambassador Ross Grieve shooting some BTS we knew we had to keep the kit fairly light as I’d be doing the shooting, lighting and everything else in between.

On the camera front, we had one GH5S with a set of Leica Rs (28, 50, 90) with Metabones .71x and Aputure LensRegain .75x, Panasonic Lecia 15mm 1.7, Bolex Moller 8/19/1.5x anamorphic, Moller 32/2X anamorphic and Iscomorphot 16/2x anamorphic with Rectilux Hardcore DNA, Jim Chang’s V2 clamp set up, 8Sinn cage and a bunch of small rig accessories to hold it all together. Ross also brought along his Syrp Magic Carpet which we used on top of the Manfrotto Nitrotech for some of the opening shots.

GH5S, 8Sinn Cage, LensRegain, Leica Summicron-R 50, Iscomorphot 16/2x, Rectilux Hardcore DNA

As a small team, we also needed to be flexible with the lighting, so we had a small lighting kit consisting of an Aputure 120D, Aputure Mini20 kit and a couple of Manfrotto LYKOS LED panel lights that could all be run both on mains and battery power for location. We used the compact Manfrotto Combi-boom for most of the outdoor shooting and c-stands for indoor shots.

We shot the film over a period of an evening, full day and the following morning, where we tried to shoot before sunrise and after sunset when the sky had a bit of color left in it. Due to the nature of the shoot, except for a couple of shots, the bulk of the shooting was done between ISO 800 – 6400.

GH5S Impressions

A quick disclaimer: this won’t be a heavily technical review of test charts etc, there are people way more skilled at those than me. The below is my honest thoughts from shooting with this camera over the period of a couple of days on a small, agile set, the type that many Lumix GH5 users will be familiar with.

The standout feature of the Lumix GH5S for me is it’s potential to shoot improved low light whilst keeping the great codecs and framerate options I’d come to love from my Lumix GH5. As I knew that I’d be shooting a lot in low light for this film, I was excited to put the camera through its paces. I’d been eyeing up a Panasonic EVA1 for a while now and to hear that the new Lumix GH5S had the same Dual ISO technology inherited from the larger Varicam range was great. Whereas the EVA1 has Dual ISOs of 800/2500, a quick test of the GH5S shows it to use 400/2500 for its Dual ISOs.

If you’re not familiar with the Dual ISO concept, there are basically two circuits right after each pixel and before the gain amp, one for each ISO which allows for two ‘native’ ISOs. In theory, this will allow you to shoot clean images in much lower light conditions than a camera with a single lower native ISO. The benefit of Dual Native ISO is that the low light improvement is coming directly from the sensor, rather than just boosting the gain and adding noise reduction.

The great thing about the Lumix GH5S is that there is an Auto Dual ISO option, which will change the native ISO on the fly, giving you the best possible quality at each ISO. ISO 160 to 800 will use the native 400 ISO and everything above 800 up to 51200 will use the higher 2500 native ISO, so no need to worry about changing it manually unless for a creative reason.

When I took the footage from this shoot into edit, I was amazed at how clean the V-Log L footage was even at 6400 ISO. Even after pushing the 10-bit 25p footage and 8-bit 50p footage around in post, the noise still seemed remarkable. It’s hard to say for certain, as I haven’t done any direct side to side comparison, but my gut says that the GH5S has around 1.5-2 stops more useable ISO in low light and it’s also much cleaner throughout the range too. Whereas before with the GH5, things started to decline after 1600, I’d be happy to shoot this camera up to ISO 6400. The frame below was at ISO 5000.

Low Light Aside, What Else is New?

As well as being a low light beast, the 10.2mp GH5S sensor is also multi-aspect, which means that the FOV will remain the same regardless of the aspect ratio you chose. This also allows for true cinema 4K in 50/60p, which is a first for a mirrorless hybrid camera.

If you’re coming from a GH5, ergonomically this camera is identical. The body and button placements are almost exactly the same, except for the new red ring around the drive dial and the new REC button on the top plate.

The variable frame rate options have also got a boost up to 240fps. You can now run timecode in/out using the included BNC adapter cable through the flash sync port, great for people recording external sound or running multiple cameras. You can also now select Line/Mic levels for the Mic input if you want to run your input at line level.

There are also some nice usability features included too such as the night mode from the Lumix G9, Liveview Boost, which boosts the brightness of the display allowing you to compose in very low light, and the focus magnification also got a boost to 20x rather than 10x on the GH5.

As well as the new features, there’s also the pretty much everything still there from the GH5 V2 firmware including anamorphic de-squeeze, waveforms, HLG, V-Log and of course 10-bit 4:2:2 shooting.

One of the things that people might be disappointed in, is the lack of in-body image stabilization. For high-end productions, where the GH5S might be locked down inside moving vehicles, the fixed sensor will be a welcome change, but for the run and gun shooter, IBIS was a super popular feature.

I’m torn on my thoughts on the lack of IBIS, which means each camera will probably have a distinct role in my bag, whereas a GH5s with IBIS would have made my GH5 redundant. I did, however, shoot about 80% of 4:17 AM completely handheld and I’m very happy with the feel of the footage.

Quick Conclusion

In my opinion, the GH5S is a more specialized camera and less of an all-rounder than the GH5. It’s one I’d pick up for low light specific shooting or when I was running the camera on the gimbal.

For my run and gun travel work, I’d see myself carrying the GH5 and for higher end productions with more kit, the GH5S would be the camera of choice.

The beauty of the system is that they’re ergonomically identical and so all of your accessories, cages, batteries etc will all fit the GH5S as well as the GH5. This makes adding the GH5S as a second body and using each camera to their advantage is not going to be made more expensive by the need to rebuy lots of new gear.


Full disclosure: Jacob James is currently an ambassador for Panasonic UK, Manfrotto, and X-Rite and has partnerships with Paramo, Eagle Creek, and Phottix.


About the author: Jacob James is a travel and cultural documentary photographer based in the UK. The opinions expressed in this article are solely those of the author. His work has been published widely in publications across the Web and world. You can find more of his work on his website. This article was also published here.


Source: PetaPixel

I Shot a Short Film with the Panasonic GH5S: Here Are My Thoughts

Rant: How Sony Can Fix the Terrible Menus on Its Great Cameras

Rant: How Sony Can Fix the Terrible Menus on Its Great Cameras

Many Sony shooters rave about their cameras but rant about the menu systems within them. Camera reviewer Maarten Heilbron has some ideas on what’s wrong and how things can be improved. Here’s his 11-minute video “rant” on the subject.

“Sony’s features are at the leading edge of camera technology,” says Heilbron. He accepts that this will lead to complexity in the menus, but he nevertheless remains frustrated at the lack of organization and clarity.

With the introduction of the new a7R III, Sony has adjusted the menu. Heilbron hoped that with this new generation of cameras there would be a completely redesigned menu, but he was disappointed.

There are a whopping 181 settings, excluding “My Menu,” in the A7R III’s menu. That’s a lot of options that would clearly need some proper organization to avoid having things get messy.

First off, Heilbron suggests that there is clearly room for another tab at the top of the menu system, but this hasn’t been utilized and that only increases the number of pages that need scrolling through.

The squares at the bottom only take up space and “duplicate” the page numbers nearer the top. Since these cameras have touch-enabled screens, why is this not possible to use in the menu? Heilbron thinks that’ll make things a lot quicker to navigate.

Another major hang-up is that it appears similar settings are not clustered together and are instead “interspersed” with completely irrelevant settings. This makes it a bit of a minefield to navigate.

Heilbron likes the changes to the Custom Key selections, which now let you move between pages rather than scrolling an “endless list.”

However, it seems there is still a lot of work to be done. Check out the video above to hear more of Heilbron’s thoughts and suggestions regarding Sony’s menu systems.


Source: PetaPixel

Rant: How Sony Can Fix the Terrible Menus on Its Great Cameras

College Sports Photographer Was Paid by Other Schools While On the Job

College Sports Photographer Was Paid by Other Schools While On the Job

The chief photographer of the University of Tennessee Athletics Department is now under investigation and on paid leave after a state investigation found that he photographed athletes from other schools for those schools while on the job.

The Knoxville News Sentinel writes that a new report released Thursday by the Tennessee Comptroller of the Treasury found that UT athletics photographer Donald Page had used UT camera equipment during work hours to shoot non-UT athletes, and that he was paid by other universities to do so.

The report also stated that Page, who earns $56,661 according to UT’s public salary database, had hired other people to help photograph non-UT athletes on his behalf, paying those assistants in cash. In total, he was found to have earned $9,240 from other schools while on the job, and over $6,000 while off work.

A conclusion from the report was that, at minimum, Page “abused university work time and equipment for his personal benefit” and that his actions “resulted in a waste and/or abuse of taxpayer funds.” Since UT is a public school, Page is a state employee.

UT placed Page on paid administrative leave back on June 15th, 2017 and has been awaiting the comptroller report before making a decision on Page’s future. The comptroller is recommending that UT officials determine for themselves whether Page violated any official UT policies with his actions.

We’ve reached out to Page for comment and will update this article if/when he responds.


Image credits: Header photo by Joel Kramer and licensed under CC BY 2.0


Source: PetaPixel

College Sports Photographer Was Paid by Other Schools While On the Job

Meet Genesis Vega, the Rising Model to Watch

Meet Genesis Vega, the Rising Model to Watch
While some may say that at five feet Genesis Vega may be petite in stature, there is nothing small about the twenty-year-old’s personality. V sat down with the boisterous young model to talk about everything from her favorite anime character and first job, to her goals for 2018 and how she manages to keep a level head in the social media age. …

Keep on reading: Meet Genesis Vega, the Rising Model to Watch
Source: V Magazine

Meet Genesis Vega, the Rising Model to Watch

Man Finds ‘Deathbed Photo’ of War Photographer Gerda Taro

Man Finds ‘Deathbed Photo’ of War Photographer Gerda Taro

A man sharing a photograph of his father online has apparently stumbled upon the last known photograph of legendary war photographer Gerda Taro, who’s regarded as the first female to shoot on the front lines of conflict (as well as the first to die while doing so).

Warning: This article contains graphic photos.

It all started on January 16th, when former soldier and historian John Kiszely of Gloucestershire, England, posted a photo of his father to Twitter.

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Someone then responded to the Tweet by asking that Kiszely post a photo of the back of the print. Kiszely obliged.

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A sharp-eyed observer then pointed out that the wounded woman may be Taro. Kiszely then confirmed that the note on the back of the picture reads: “Mrs Frank Capa, Brunete.”

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The full inscription reads: “Brunete Front, June 1937 (in Torrelodones) Mrs Frank Capa = of Ce Soire of Paris, killed at Brunete.”

Taro was never married to Capa — she rejected his marriage proposal — but many people mistakenly believed that they were married. The name “Frank” may have been due to a mixup between the names “Robert Capa” and “Frank Capra,” the famous film director.

Gerda Taro, whose real name was Gerta Pohorylle, was the companion and professional partner of Robert Capa (born Endre Friedmann) who helped create the legend of Robert Capa before being killed at the age of 26 while covering the Spanish Civil War in 1937. While documenting the Republican army retreat at the Battle of Brunete on July 25th, Taro was critically injured when the car she was riding on collided with a tank. She died the next day.

Gerda Taro in Spain, July 1937.

“I never looked at the back,” Kiszely tells The Guardian. “To me this was just a photograph of my father with another patient.”

“My very first impression is that it does look very like Gerda Taro,” Taro biographer Jane Rogoyska tells The Guardian. “The thing that inclines one to think it is Gerda Taro is the short hair and those very thin eyebrows, and just the fragility of the body.”

Rogoyska does note that there needs to be additional research into the details surrounding this photo to be sure that it does indeed show the last months of one of history’s most famous war photographers.


Image credits: Photographs provided to PetaPixel by John Kiszely


Source: PetaPixel

Man Finds ‘Deathbed Photo’ of War Photographer Gerda Taro

Retailer CVS Announces Move Toward Unretouched Beauty Photographs

Retailer CVS Announces Move Toward Unretouched Beauty Photographs

CVS Pharmacy has announced that it will use only unaltered photographs in all of the marketing and packaging they produce, and the company will ask the brands whose products they sell to comply with new transparency standards for altered imagery. The retail pharmacy chain, the largest in the U.S., introduced the initiative earlier this week.

CVS joins brands such as American Eagle’s Aerie and Dove in making the shift away from the heavily retouched imagery that has become the norm in the fashion and beauty industries. Photographs heavily altered in post-production have been increasingly criticized in recent years for promoting unrealistic beauty standards. “The connection between the propagation of unrealistic body images and negative health effects, especially in girls and young women, has been established,” said President of CVS Pharmacy and Executive Vice President, CVS Health Helena Foulkes in a statement.

Beginning this year, all imagery produced by CVS Pharmacy will adhere to new post-production standards, and the company will use a “CVS Beauty Mark” watermark to call attention to images which are not “materially altered.” The company has defined material alteration as “changing or enhancing a person’s shape, size, proportion, skin or eye color, wrinkles or any other individual characteristics.”

The company announced they will require transparency for all beauty imagery in its stores and marketing materials by the end of 2020. “We’ve reached out to many of our beauty brand partners, many of whom are already thinking about this important issue, to work together to ensure that the beauty aisle is a place that represents and celebrates the authenticity and diversity of the communities we serve,” Foulkes said.

Related:

IS THE FUTURE UNRETOUCHED?

MELANIE ACEVEDO ON LIGHTING FOR NATURAL BEAUTY ON ASSIGNMENT FOR DOVE

PHOTOSHOPPED ADS BANNED IN BRITAIN

The post Retailer CVS Announces Move Toward Unretouched Beauty Photographs appeared first on PDNPulse.


Source: PDN Pulse

Retailer CVS Announces Move Toward Unretouched Beauty Photographs