Getty to allow embedding for non-commercial use of images
By Barney Britton on Mar 6, 2014 at 05:24 GMT, DPREVIEW, Digital Photography Review
Getty Images has taken a major step towards addressing unauthorized image use by allowing low-resolution (~0.17MP) embedding of images for no charge, with no watermark, on non-commercial 'blogs and social media'. Admitting that combating unauthorized image use by the world's Internet users is impractical, Getty is pitching the new embedding service, which is available for more than 35 million photographs as a legal alternative to image theft.
Speaking to the British Journal of Photography, Craig Peters (SVP Business Development, Content and Marketing) says that Getty needs to adapt to a reality where 'everybody today is a publisher thanks to social media and self-publishing platforms'.
Embedding (which excludes certain restricted collections such as Getty's Premium Archive, Contour and Reportage) offers in Peters' words 'a legal method' to use copyright images. Embedding is strictly limited to non-commercial image use, and in the words of its terms and conditions, Getty reserves the right to 'place advertisements in the Embedded Viewer or otherwise monetize its use without any compensation to [the embedder of the image]'.
It is certainly true that unauthorized image use is widespread, and on the face of it, offering watermark-free embedding to online publishers engaged in non-commercial content creation seems innocuous.
However, as for that distinction between commercial and non-commercial use, Craig Peters' comments to the BJP (echoed in an FAQ made available to Getty contributors) might not offer much comfort to its photographers... 'the fact [...] that a website is generating revenue would not limit the use of the embed. What would limit that use is if they used our imagery to promote a service, a product or their business.' Which means that as editor of dpreview.com - an advertising-supported website - I can embed the image at the top of this news story free of charge, because I'm not using it to promote a service, product or my business? But as the guy who took the picture, I won't see a penny.
UPDATE: PetaPixel is reporting that (for now at least) the credit line of embedded images can be easily deleted with some simple HTML trickery.
With construction at the midway point, the National Museum of African American History and Culture is taking shape on the National Mall in Washington, D.C.,
Expected to open by early 2016, the museum has raised approximately $410 million of its $500 million cost of construction $250 million from Congress and more than $160 million to date from private funders, including $12 million from Oprah Winfrey, who will have a theater inside the museum named in her honor. “By investing in this museum, I want to help ensure that we both honor and preserve our culture and history, so that the stories of who we are will live on for generations to come,” Winfrey said last year. "It's humbling," said Lonnie Bunch, the museum’s founding director. "For the last eight and a half years, it was my job to make people believe."
Earlier this month the Links Foundation, the philanthropic arm of an organization of professional women of color, pledged $1 million toward the museum's construction costs. "We are thrilled to contribute to the National Museum of African American History and Culture," said Margot James Copeland, president of The Links, Inc. and its foundation. "This museum will allow our rich African-American story to be told and displayed for all to see. The contributions of our people, from the past and present, will be showcased and will provide hope and inspiration to continue building on our great legacy."
Designed by African-American architect Phil Freelon, the building will be a three-tiered ten-story structure with five stories above ground and five below. Inspired by the decorative ironwork crafted by slaves in Charleston and New Orleans, the exterior of the building will be layered with thirty-six hundred latticed bronze panels. Bunch told McClatchy the overall design was intended to be "an homage to those hiding in plain sight." The nineteenth Smithsonian museum is likely to be the last building to go up on already-crowded National Mall.
Some of the larger artifacts to be featured in the museum, including a restored Jim Crow-era railroad car with segregated compartments, already have been put in place so the building can be built around them. Visitors will be able to walk through the Southern Railway car, which was used between 1940 and 1960 on routes in Kentucky, Tennessee, Georgia, and Florida, and see firsthand the comfortable seating for whites and the divider that kept African Americans in basic seating in the back of the car. “This rail car is a tangible remnant from America’s long years of segregation, and those remnants are rare,” said Peter Claussen, the chair and CEO of Gulf & Ohio Railways, who donated the rail car to the museum and who is a member of the Smithsonian National Board. “The separate water fountains are gone. The black and white sections of movie theaters are gone. There are very few objects that allow people to see what segregation was like, and this is one of them.”
There is also a 21-foot concrete guard tower from Angola prison, the Louisiana State Penitentiary that was built in the 1930s and to Bunch serves as a powerful symbol of the oppression of African-Americans.
Many were rounded up as vagrants and, in a practice of “convict-leasing” that began at the turn of the 20th century, “it became a way to reinstitute slavery,” Bunch said, explaining that prisoners were leased out to work for residents.
The guard tower and the railway car will be featured in the museum’s Segregation Gallery as part of an inaugural exhibition, “Defending Freedom, Defining Freedom: Era of Segregation 1876-1968.”
A slave cabin from Point of Pines Plantation on Edisto Island, S.C., dating to the early 19th century, will tell a similar tale of life during slavery. The clapboard cabin, which will display the narrow confines of slave life, was dismantled piece by piece and shipped to Washington last May, where it will be reassembled for an exhibition called “Slavery and Freedom” when the museum opens.
Currently, some artifacts intended for the museum are displayed in a temporary space in the Smithsonian’s National Museum of American History, across the street from the black history museum’s five-acre site.
President Barack Obama, the first African-American chief executive, attended the groundbreaking two years ago. However, as Bunch raised money and developed the collection, he had to make sure people believed that the museum would be built.
“I get very emotional when I come here,” he told McClatchy on a recent tour of the site.
It could very well be the last building to go up on the mall, sometimes referred to as the “nation’s front lawn.” Mall advocates, from Congress to the National Park Service to arts experts, seem to agree that nothing more can be placed along the nearly two-mile corridor from the U.S. Capitol to the Lincoln Memorial without detracting from the green space and the existing array of museums and memorials.
The Smithsonian will use its empty Arts and Industries Building for a National Museum of the American Latino, still awaiting congressional approval.
Phil Freelon, the African-American architect from Durham, N.C., who designed the building, imagined an angular, three-tiered boxlike structure with 10 stories – five above ground, five below.
The exterior will be layered with 3,600 bronze latticed panels – “coronas” – to make it gleam, inspired by the decorative ironwork crafted by slaves in Charleston, S.C., and New Orleans.
“The skin of the building,” Bunch said, calling the overall design “a homage to those hiding in plain sight.”
One of the goals is to provide a sense of the struggles and successes of African-Americans. Entering, for instance, museumgoers will cross a water feature to recall the experience of slaves crossing the ocean to come to America.
From its site near the Ellipse, the building offers vistas that extend across the Potomac River to Arlington National Cemetery in one direction and to the Capitol in another.
Bunch, who went up in a hydraulic cherry picker to see the views for himself, said, “We wanted to have that right tension of the building and one of the most sacred spaces in America.”
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