Who Really Owns Your Work…ONCE YOU’RE DEAD?

Let’s not pussy-foot around here, in this hypothetical situation… YOU’RE DEAD. And being the generous gifted photographer that you were, you not only sold work but also gave images to local art institutions and museums. But now that you’re dead, who owns the work…I mean the rights to reproduce and control the release of the works, hmmm? My experience is that most institutions get very possessive of your works once they have them, even to the point of asserting rights to their use. Some art institutions (I won’t mention any names here) have the artist sign his/her life away and all usage and control of the artworks for the “honor” of being included in their collection. I got to thinking on this topic when, on a recent trip to the Clark Museum in Massachusettes, I wanted to photograph my daughter drawing a picture of Monet for fun and for something for her to remember this trip by. When I asked if it was ok (no flash, no tripod, just a picture) I was informed that photographs were NOT ALLOWED. Excuse me- but Monet is the only one who OWNS copyright to his works and he is long since dead and thus this is not an issue. It was ok of course to draw the picture but any photography within the exhibit was strictly forbidden. How nice though, that for a mere $65 dollars the gift shop has a complete book of the show (we bought it, of course). I could understand if the purposes of the image in question were for commercial uses but that aside the museum does not own the copyright to these works- the owners of the artworks themselves do not own the copyright to these works, Monet does and he is-we can all agree- dead. So all of this amounts to a whoring of dead artists works in a greedy attempt to not only get your admission dollars but also drive you to the gift dept for that must-have book. Of course the museum owns the building and the galleries so their word is final…BUT it is, IMHO, wrong.

Steel Versus Plastic…the Final Word!

I have heard old time photographers and newbies alike swear to the professional quality and unmatched superiority of both steel and plastic reels. This is just such a ridiculous argument that I will end NOW once and for all. Who is right you ask? Answer…(drum roll please) BOTH. Once again the choice (and choice is good) is yours based on your working style. Just let it be known that most mid-size labs run Jobos or similar processors for their 135 and 120 films and guess what those machines use: PLASTIC reels. Steel reels are great especially if you are willing to buy good ones like Hewes but plastic is hard to beat if you are on a budget. I personally find plastic easier to use as it does not bend and loads very quickly- cleanup is also a snap. I have both in our studio and use them interchangeably so there you have it…you pick which one you like and lets now have a discussion about something important like what your work is really about.

Where Have All the Point and Shoots Gone!

OK- so where HAVE all the professional point and shoots gone? To the grave yard or Ebay as the Photo Industrial Complex has realized that there is alot more money selling crappy little digital point and shoots with upgrades every month rather than making quality ones like:

Olympus XA
Nikon 28Ti and 35Ti
Leica CM
Leica Minilux
Konica Hexar
Contax T2, T3
Rollei S, SE

Now we get tons of plastic with resolution that is subpar and noise (digital grain) oozing out of every crack and crevice. Having a quality point and shoot in your bag in my opinion is a must but now days it is getting harder and harder to find one. Ever seen a great drum scan from a negative made by one of the above listed cameras? Compare it with the new digitals and you may find yourself singing along with the Figital Revolution…