Ed Greenberg intellectual property lawyer speaks on Copyright online. Ed has had top notch high profile experience in this area – a lifetime of it! Ed’s been making appearances at Photoshop World with Jack Reznicki and helping clear up easily clouded issues for many creatives both amateur and professional. I learn something new every time I talk with him.
Protect your rights and get greater recognition for your work at the same time. Insert your copyright and contact information in every one of your files and their derivatives. It’s easy to do. Make it a habit.
You can program your camera to insert your name and contact information automatically.
Check out my PDF on how to do this with Canon cameras here.
You can also batch insert metadata to any file with Adobe products like Lightroom and Bridge.
One of the things I do at the beginning of each year is register my copyright for my images.
Registering your copyright is easy.
You can even do it online now.
Find out all you need to know here.
You don’t have to pay a registration fee for each image. You can register them in groups. I register my work in groups annually – i.e. new work 2008. If you’ve never registered before, you can register all your images for one fee – work to date.
If your work is published (or made public) consider registering more frequently. How frequently depends on you and the kind of work you do. Some photographers register their copyright when they deliver a job – every job.
You don’t have to register copyright to have ownership of your rights, they’re yours automatically. Registering your copyright is useful if your rights are infringed – in negotiations before going to court offenders are much more likely to settle out of court and if you go to court you’ll be able to recover your legal expenses as part of a suit.
Seth Resnik offers fantastic resources online to help you cut to the chase with this process and get it done exceptionally well in minimal time. Get them here.
See live coverage of the new year’s ball drop above or at this link.
Happy New Year! May it be a healthy, happy, successful year for you all!
Here’s a simple formula for scanning black and white originals (film or prints). Scan in Grayscale (there’s no benefit to scanning in RGB), in 16 bit, and at the native resolution of a scanner (upsample in Photoshop only if needed, not during scanning). Make sure sharpening is turned off. Test a scanner’s lookup tables for negatives; if they clip shadow or highlight detail scan negatives as transparencies and invert in Photoshop.
Get my free download here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.
Looking for an infrared effect? Two options; capture in infrared or post-process to simulate infrared. Either way, the results can be compelling.
Here’s an excerpt from a statement I wrote on infrared techniques sometime ago.
“It looks like another world, yet it’s not. By opening a window into a spectrum we can’t see with the naked eye, infrared photography shows us our world in an extraordinary light … The effects are often unpredictable and almost always surprising. Perhaps, that is why this effect is so compelling.”
Read the rest of my artist’s statement here.
Read other artist’s statements here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.
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Some images are better in black and white. This is one.
“Dangerous Passage was a compelling image. But something wasn’t working. The thorns were red. The stalks were green. The water was blue. They were not subtle. The color was garish. In many ways, the color was too literal. The drama of the composition was competing with the drama of color. The two were at odds. Their moods were incompatible. One was harsh and edgy. The other was bright and cheery. Color was the problem. So I removed it … The message was clarified. The image carried a much greater weight. Less became more. The image was somber in black and white. That much suited the mood. But it was ashen, cold, and remote. I missed the emotional power of color. So I put it back. I converted the image back to a color mode and introduced new color into the image.”
Read the rest of my artist’s statement here.
Read other artist’s statements here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.
Photographer Gordon Hutchings weighs in on the creative process in three insightful videos.
The blackest black in print is achieved with today’s inkjet materials. Epson Exhibition Fiber printed on Ultrachrome K3 or UltraChrome HDR produces a 2.65 dmax; silver gelatin selenium toned produces a 2.35 dmax. You get this extraordinary black when printing through the printer driver’s Advanced Black & White mode; print the same image through a standard color color management route and you’ll only get a 2.4 dmax. Also, matte papers yield weaker blacks, roughly 1.85 dmax.
Get my free download on Epson’s Advanced Black & White mode here.
Find out more about black and white in my DVD Black & White Mastery.
Find out more about black and white in my Workshop Black & White Mastery.
Special discounts are available until January.
