Tomorrow (26th March 2019) MEPs will vote on a controversial EU directive to copyright work used on the web. It sets terms and conditions for others to reuse content (posted by people like us) commercially. The battle has been between the tech giants, whose business model is all about reusing other’s intellectual property without license or renumeration, and us ‘the creative community’. Scares have included that
Alamy – a follow-up
The UK Press Gazette quoted The BPPA’s open letter to Alamy’s CEO in their piece about his video signalling his intention to reduce the photographers percentage of royalties to 40%. This morning the UKPG asked us to provide a response to James West’s latest video where he offers to keep the 50% split for exclusive content. We provided the following text: “Alamy’s move to alter
An open letter to Alamy CEO James West
Dear Mr West When our members first pointed out that Alamy was reducing the commission that it pays to contributing photographers the first reaction was “oh no not again”. Sitting and watching the video that you posted on YouTube didn’t help. Alamy is a company whose success is built on its relationship with the people who have trusted you to handle their stock and live photography
FREE MONEY!!!!
Ok – now we have your attention. Every year DACS ( The Design and Artists Copyright Society) collects millions of pounds worth of royalties due for use of our photographs from libraries, universities and other organisations. It is payment for lending books, photocopying and things like that. They then redistribute this money to us through the “Payback Scheme” – and it usually comes to several hundred
Self-publishing 'Coast People'
As I write this post sitting at my desk in my home office I am surrounded by an ever-increasing collection of photography books. Books that I have been gathering over many years firstly as an amateur with a keen interest and now as a working professional photographer. Over these years and I assume like many other photographers I have always found that seeing a photograph in
Our Draft Code of Conduct
Immediately after the Leveson Inquiry we started to think about how a code of conduct could be drafted for The BPPA that would help prospective members and the British public understand what our profession is all about. We looked at similar documents from all over the world and we looked at the various codes of conduct and practice that our clients have already signed up
What's going on at DACS? Part 2
In this second part of his assessment of what is happening with DACS, Andrew Wiard explains why the current situation is not something that photographers should accept. “When I use a word,” Humpty Dumpty said, in rather a scornful tone, “it means just what I choose it to mean—neither more nor less.” Insisting on ALL secondary rights – does it really matter? Is it such a big deal? Yes it
A Gun To Our Heads – The new DACS Agreement, part 1
In the first of a two-part blog post Andrew Wiard, a member of The BPPA’s Board, asks “What’s going on at DACS?” Last year we all had to sign a new agreement, and if we didn’t – no annual payout at Christmas. So, why? Short answer, because DACS is at the bottom of a collecting society food chain, and they are all fighting like rats in a sack.
An open letter to Time Inc UK
When several photographers started getting letters from Hamish Dawson, Publishing Director of Time Inc.(UK) Ltd, Specialist Sport and Leisure with a new rights grab which asked them to agree to sign away all rights in any work that they carried out for the magazines and websites in the group we decided to write to him. Below is that letter and below that is his reply. We are
British Photographic Council concerns over consequences of new copyright law
This is a re-posting from the British Photographic Council’s website. The BPPA is a member of the BPC and members of The BPPA’s Board have been deeply involved in the process so far. Government adopts “friendless, unnecessary, poorly explained and fraught with risk” new copyright legislation, against united opposition from the photographic sector. In all of the publicity over the impending introduction of new ‘Orphan Works’
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