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The third-generation PowerShot G10 is a stunning successor, loaded with uncompromising specs like 14.7 megapixels, a 28mm wide-angle lens, and Canon's new DIGIC 4 Image Processor for notably improved face and motion detection. This is a camera that supports and nurtures creativity, with a full range of shooting and recording modes and compatibility with exciting accessories including Speedlite flashes.

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Just goes to show you that even a VERY SUCCESSFUL and well known photographer can be an idiot and shoot themselves in the foot.

I'm not posting this for political discussion, this has to do with her being hired for a job and then purposely taking a bad photo to try and further a personal agenda.

I sure hope this comes back to bite her in the A$$ and she doesn't get anymore magazine work, but I'm sure she'll get even more work from it.

Here's a description of what happened: http://photobusinessforum.blogspot.com/2008/09/jill-greenberg-open-mouth-insert-foot.html

and here's the original article on PDN: http://www.pdnpulse.com/2008/09/how-jill-greenb.html

They are both short reads. If you click on the photos you'll see large versions.

What makes it even more disgusting is the photo on her home page. Check this image: http://www.manipulator.com- - - - - - - - - - - - - - - - - - - - -

Saturday's update
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I knew she would take the offending image down eventually since she probably is getting a lot of heat about it.

I'm allowed to give editorial comment or critique (fair use) and use the images to support that critique, so my editorial comment is that what she did was unethical and took one more chip out of the reputation of the photography profession. I would like to think she won't be hired anymore after this, but the sad truth is that it will probably get her more work.

All photographers should think of their own ethics and make a decision as to where they draw the line. I think in this case she jumped over the line by a mile.

The original article regarding the shoot is listed above. She thought it was o.k. to take images from a paid shoot and use them for her own disgusting political use. What this does for all photographers is change how we will be required to do business, i.e. handing over all files to the client and not being able to use them on our own site or for other purposes, in fear of making the client look bad.

The first image is what was on her home page for all of yesterday and last night until it was changed to the 2nd image (in addition to a few other not so flattering images.)

THE USE OF THESE SCREEN CAPTURES ARE FOR EDITORIAL REVUE ONLY AND UNDER THE FAIR USE LAWS OF THE UNITED STATES.

ALL POLITICAL COMMENTS WILL BE REMOVED.  THIS IS A DISCUSSION ABOUT ETHICS IN PHOTOGRAPHY ONLY.

See the offending photos here:

Offending Photo #1

Atlantic Magazine won't pay Jill Greenberg for her photos and may consider a lawsuit. 

Check out this video interview with the Publisher of Atlantic Magazine:

http://cosmos.bcst.yahoo.com/up/player/popup/?rn=3906861&cl=9745513&ch=4226716&src=news

Chinese photographer Li Wei from Beijing started off his performance series ‘Mirroring’ and later on gained more attention with his ‘Falls’ series which shows the artist with his head and chest embedded into the ground. His work is a mixture of photography and performance art that creates illusions of a sometimes dangerous reality. Li Wei states that these images are not computer montages. He works with the help of props such as mirrors, metal wires and cables, scaffolding and acrobatics. 

You can learn more about Li Wei and his work on his official web stie at www.liweiart.com.

Here are a few of his images (all courtesy of Li Wei).

NIKON D700 - FULL FRAME DSLR

D700

The Nikon D700 full frame DSLR is now available to ship.  ORDER HERE WITH NO TAX AND NO SHIPPING! 

NIKON D700 DSLR

Nikon introduces the new D700 digital SLR camera featuring a 12.1-effective megapixel Nikon FX-format sensor that measures 23.9 x 36mm, which is nearly identical to the size of 35mm film. Benefiting from Nikon's legacy of imaging technology innovation, the D700 offers both advanced and professional photographers stunning image quality, accurate color reproduction and revolutionary low light performance.

• Nikon's original 12.1-megapixel FX-format (23.9 x 36mm) CMOS sensor: Teamed with Nikon's exclusive EXPEED digital image processing, the D700 delivers breathtakingly rich image quality.
• Broad ISO sensitivity up to 6400 and incredibly low noise: Super low-noise performance from 200-6400 ISO, with the added versatility of Lo-1 (100 ISO) Hi-1 (12,800 ISO) and Hi-2 (25,600 ISO).
• Continuous shooting up to 5 frames per second: Shoot at up to 8 frames per second with the optional MB-D10 Multi-power Battery Pack.
• Three-Inch, super-density 920,000-dot VGA color monitor: High resolution with
• 170-degree wide-angle viewing, calibrated color and tempered-glass protection assure confident image review.
• Two Live View shooting modes: Choose from hand-held or tripod modes to suit shooting requirements.
• Rugged magnesium-alloy construction: Along with extensive dust and moisture protection and a durable shutter mechanism tested to 150,000 cycles, the D700 merges pro D-SLR performance with expanded agility.
• Fast, accurate 51-point AF with 3D Focus Tracking: Exacting autofocus precision, plus three Dynamic AF modes.
• Dynamic Integrated Dust Reduction System: Effective quad-frequency, ultrasonic sensor cleaning minimizes image degrading dust particles.
• 1,005-Pixel 3D Color Matrix Metering II: Legendary Nikon exposure accuracy aided by an onboard database of over 30,000 images.
• Nikon's exclusive Scene Recognition System: SRS further extends auto-exposure intelligence while also advancing white balance detection and auto-focus performance.
• Nikon Picture Control settings: Advanced color control with 9 customizable settings and 4 preset options allow fine tuning of image appearance preferences.
• Active D-Lighting with NEW Auto mode: Unique three-phase dynamic control to capture previously lost details in shadows and highlights while maintaining normalized contrast.

Building on the immense success of the Nikon D3 professional D-SLR camera, the D700 offers pro-level performance and an extensive array of features and innovations in a comfortably nimble platform. In addition to the Nikon-original FX-format CMOS sensor, the D700 incorporates Nikon's EXPEED Image Processing System, Nikon's renowned 51-point auto focus system with 3D Focus Tracking and two Live View shooting modes that allow photographers to frame a shot using the camera's three-inch high-resolution LCD monitor. The D700 also features Nikon's sophisticated Scene Recognition System and a new active dust reduction system.

Nikon's flagship FX and DX-format cameras, the D3 and D300 respectively, established new benchmarks for digital image quality, speed, and unmatched ISO performance. The D700 maintains this new measure with exceptional overall image quality, broad tonal range and depth, and extremely low noise throughout its native ISO range of 200 to 6400. The Nikon FX-format cameras have teamed with Nikon's lineup of DX-format models to offer photographers unprecedented advancements in performance and versatility along with the freedom to choose the format that best serves their needs. The introduction of the D700 offers an important new option to photographers who need the overall performance and imaging perspective Nikon FX-format cameras offer.

The legendary Nikon FX-Format CMOS sensor
The D700's 12.1-megapixel FX-format CMOS image sensor provides exceptional image quality throughout its remarkable ISO sensitivity range. A large pixel size of 8.45 µm allows for an extremely low signal-to-noise ratio and a wide dynamic range. The 12-channel readout enables accelerated information transfer, allowing the D700 to shoot at speeds of up to eight frames per second at full resolution (using the optional MB-D10 Multi Power Battery Pack) and quickly write image data onto the CompactFlash card.

The D700 offers a versatile base ISO range from 200-6400 but can be expanded to range from ISO 100 (Lo-1) to 25,600 (Hi-2) affording photographers the new-found confidence to shoot in the widest variety of lighting conditions from the brightest midday sun to dim interiors. Images previously thought to be impossible to create without complex lighting set-ups or lengthy post-processing are now captured easily and faithfully with the D700, unleashing new and diverse shooting possibilities.

Also new to the D700 is Nikon's first self-cleaning system designed for the FX-format sensor. Utilizing four distinct vibration frequencies, the D700 frees image degrading dust particles from the sensor's optical low-pass filter at start-up, shut-down or on demand. As an added benefit, the mirror box and entire shutter mechanism are constructed of materials that resist creating debris that can affect image purity.

Fastest speed and autofocus in its class
The D700 starts up in a mere 0.12 seconds and has a nearly imperceptible shutter-lag response time of 0.40 milliseconds, making this an extraordinarily responsive tool for the demanding photographer. The D700 can record full-resolution JPEG images at an astounding five frames per second (fps), or eight fps with the optional MB-D10 battery pack for up to 100 images, or up to 17 lossless 14-bit Nikon NEF (RAW) files. To write images efficiently, the Nikon D700 is also compliant with the next-generation of high-speed UDMA CompactFlash cards that will enable recording speeds up to 35 megabytes/second.

The D700 offers one of the fastest and most accurate advanced AF systems on the market today. Nikon's Multi-CAM 3500FX autofocus sensor module features 51 AF points and the ability to use 3D tracking to focus and lock-on a moving subject. The 15 cross-type sensors and 36 horizontal sensors can be used individually or in groups, with the option for Single Area AF mode and Dynamic AF modes using groups of either 9, 21 or all 51 focus points. The system also features 3D Focus Tracking with automatic focus point switching that takes advantage of all 51 AF points as it uses scene color content and light information to accurately track the subject.

Intelligent features for sophisticated performance
The D700 relies on a wealth of innovative Nikon technologies to help photographers create superb images. Nikon's Scene Recognition System analyzes information from the 1,005-pixel RGB light sensor for use in auto exposure, auto white balance and autofocus calculations. The Scene Recognition System also assists autofocus by tracking subject position and automatically shifts the AF points used to match the subject's movement within the frame. This system also contributes to higher accuracy of auto exposure and auto white balance detection, resulting in sharp landscapes, flattering portraits and engaging action shots.

Photographers also have the option to enhance their pictures during or after capture with the Picture Control System and Active D-Lighting. Nikon's Picture Control System enables users to adjust their images to pre-set parameters such as Standard, Neutral, Vivid and Monochrome that apply tweaks to image sharpening, tone compensation, brightness, overall tone and saturation. D-Lighting uses localized tone control technology to further optimize highlight and shadow detail while also maintaining natural contrast, giving photographers the ability to capture more perfectly exposed images, even in unusual lighting conditions. Active D-Lighting lets photographers choose from various intensities during capture, while a new Automatic mode also applies varying levels of D-Lighting as, and when needed, to enhance photos while shooting.

Enhanced Live View modes and viewfinder
Ideal for studio, remote applications and more, Nikon's Live View allows the photographer to compose the subject on the bright three-inch, TFT LCD monitor. In Handheld mode, the user is able to recompose the frame prior to actual shooting; familiar TTL phase-detection AF is activated, using all 51 AF points. Tripod mode is designed for precise focus accuracy with still subjects and tripod stabilization. It enables focal-plane contrast-detect AF on a desired point within a specific area. Remote view, focusing and shooting can also be controlled from a PC (via connection or wireless) using the optional Nikon Camera Control Pro 2 software. Additionally, the Virtual Horizon feature on the D700 can now be superimposed over the Live View monitor image to aid composition.

While using Live View to compose or review images and settings, users will appreciate the ultra-high resolution 920,000-dot VGA, three-inch TFT LCD monitor with tempered glass that provides a wide 170-degree viewing angle. The large monitor is remarkably effective when confirming the focus with enlarged playback images. The camera also outputs a video signal to an HD television using the new smaller HDMI-C standard, which is an excellent solution for workshop demonstrations or shooting tethered for clients.

Photographers will also be able to compose images easily using the wide and bright viewfinder that features an eye-level pentaprism with high refraction index and provides a 95 percent frame coverage with 0.72x magnification. Each of the 51 AF points, as well as a framing grid, can also be superimposed on the finder screen to suit the photographer's personal preferences.

Rugged construction and durability
High-strength magnesium alloy is used for the construction of the camera body, rear body and mirror box to create a precision platform, reduce weight and provide rugged durability. The camera is tested to stand up to the rigors of the globetrotting photographer and is weather sealed using precision O-rings where connections are made to effectively combat dust and moisture.

The shutter unit employs an assembly made of a new composite carbon fiber and Kevlar hybrid material. Tested on fully assembled cameras, the D700's shutter unit has been proven through 150,000 cycles under demanding conditions. The self-diagnostic shutter constantly monitors and maintains shutter precision to ensure peak performance.

According to an interview with Intellectual Property Attorney, Edward Greenberg, the following guidelines are necessary to legally protect your copyrights.

In order to sue for the illegal use or infringement of your images, you MUST have registered the images with the U.S. Copyright Office.  The good news is that you have 90 days from the date of the infringement to file the copyright registration with the U.S. Copyright Office.  Filing a copyright can now be done online at the U.S. Copyright Office. If you register within the 90 day limit you can sue for statutory and punitive damages and attorney fees.  If you register after the 90 day window then you can only sue for "reasonable" actual losses or damages.  The good news is that you can easily and inexpensively register groups of images with the U.S. Copyright Office for only $35. 

The bottom line is that you can sue for damages if, and only if, you register your images with the U.S. Copyright Office. 

Based on this information, my workflow will now include a bulk registration for each event I shoot.  I'll upload all my images to the U.S. Copyright Office and pay the $35 and know that I am covered.  Once a photographer works this into their workflow, it should become rather simple.

** I AM NOT AN ATTORNEY AND THIS INFORMATION IS FOR EDUCATIONAL AND INFORMATIONAL USE ONLY.  SEE AN INTELLECTUAL PROPERTY RIGHTS ATTORNEY IN YOUR STATE FOR GUIDANCE AND FURTHER DIRECTION. **

This is a bill that any photographer, graphic artist or artist needs to be concerned with and fight ASAP!  It is currently going through Congress and needs to be stopped.

Here is a very informative email from the National Press Photographers Association with details on the bill and contact information.

Announcement from NPPA Advocacy Committee

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Late last month, as NPPA leaders expected, a pair of “orphan works” bills appeared before Congress. Both are on a “fast track” for approval during this session and a mark-up of the House bill took place May 7. The bills would exempt from full protection under U.S. Copyright law millions of pictures – new and old, published and unpublished, even many previously registered with the U.S. Copyright Office.

“Orphan works” is a term coined to describe created works whose owners cannot be identified or located to ask permission before reproducing the works. A coalition of librarians, historians, educators, documentary filmmakers and anti-copyright crusaders support legislation they say would protect them when using such works in presentations and publications.

The House of Representatives bill (H.R. 5889) includes several improvements over the legislation of two years ago, which died without action. However, we believe an orphan works exemption runs counter to the best interests of photojournalists and photojournalism, as well undermining America’s Constitutional and international commitments to copyright.

Under copyright law, if persons or entities wish to use the created work of others, they must first obtain permission. Current copyright law provides statutory financial penalties and recovery of legal costs for copyright violations, available only if the copyright holder has registered the image and files suit in federal court. Taking action in federal court is an expensive process, nearly impossible to fund without such penalties and chance for recovery.

Both the Orphan Works Act of 2008, introduced in the House, and the Senate’s Shawn Bentley Orphan Works Act of 2008 (S. 2913) would effectively allow photos and other created works to be used without prior permission if the actual copyright holder could not be identified and/or located. Under the proposed bills, the copyright holder could not collect statutory damages or attorney fees from an unauthorized user, so long as that user conducted a “reasonable search” to find the copyright holder and obtain permission.

While the orphan works bills might benefit archivists, historians, librarians, genealogists and other respected professionals, they go further than necessary to protect uses that are genuinely in the public interest, and their passage would imperil creators of original work, including most NPPA members.

The NPPA has for several years tracked orphan works proposals and partnered with 18 other organizations of photographers and illustrators to form the Imagery Alliance, with goals to fight orphan works exemptions and support copyright in general. Several associations in the Imagery Alliance, among them the American Society of Media Photographers (ASMP) and Professional Photographers of America (PPA), have staff attorneys and registered lobbyists who met with Congressional staff to discuss our collective concerns.

NPPA appreciates ASMP’s and PPA’s efforts on behalf of all visual artists. We respect that their lobbying led to significant improvements in the House bill. We also have taken into account concerns from ASMP and PPA leaders that proponents of orphan works outnumber us, are supported by the Copyright Office, have captured the ears of Congress and that this bill is likely the best we will see.

But we cannot in good conscience support this bill.

We recognize well the difficulties of managing rights for historical images. We believe a carefully and narrowly tailored expansion of the fair use exception to the copyright act would address the legitimate concerns of librarians, historians and educators. There is no reasonable argument to authorize infringements for commercial use. Unpublished works should also not be exempted – especially since publishing them without their creator’s permission might violate contract, privacy and other legal precepts. If the sharing of historical works is the true goal of orphan works legislation, there is certainly no reason at all to extend infringement exemptions to newly created works.

Orphan works is a complex issue, but it could prove significant to the future of photojournalism as a viable profession. We urge all photojournalists to include identifying metadata in their image files, continue to register their work regularly with the Copyright Office and keep their information up to date in photographers’ registries (such as NPPA’s Find-a-Photographer, PLUS and photographerregistry.com) to protect their images from being viewed as “orphans.”

We also encourage all members to carefully study and research this issue – from as many perspectives as possible – then share their conclusions and concerns with their Representatives and Senators. We believe the only possibility of defeating these proposals is through a grass-roots effort. Legislators and their staff take notice whenever they are contacted by their constituents. We cannot overstate the importance of members voicing their opinions. A significant response on this issue will carry far more weight with Congress than any professional group or lobby. We urge all members to participate in the process for this critical piece of legislation.

To help you contact your legislator please go to:
http://capwiz.com/illustratorspartnership/issues/alert/?alertid=11348596 where you will find a customizable letter and an easy to navigate form.

In the coming weeks, look for updated information and news on this subject. The following resources are available now:

NPPA report on introduction of 2008 orphan works bills:
http://www.nppa.org/news_and_events/news/2008/04/orphan01.html

John Harrington warns of orphan works in his Photo Business and News Forum blog:
http://photobusinessforum.blogspot.com/2008/05/orphan-works-2008-wolf-in-sh...

The ASMP’s analysis, including chart comparing H.R. 5889 with 2006 bill:
http://www.asmp.org/news/spec2008/orphan_update.php

U.S. Copyright Office Orphan Works page, including links to its report, H.R. 5889 (the Orphan Works Act of 2008), S. 2913 (the Shawn Bentley Orphan Works Act of 2008), Congressional testimony and more:
http://www.copyright.gov/orphan/

Editorial Photographers-UK blog post on U.S. orphan works:
http://www.epuk.org/Opinion/848/uncle-sams-thieves-charter

Lawrence Lessig – a supporter of “free” information – on orphan works:
http://lessig.org/blog/2007/02/copyright_policy_orphan_works.html

The Stock Artists Alliance detailed information on Orphan Works
http://www.stockartistsalliance.org/orphan.html

Public Knowledge – a proponent of orphan works exemptions – explains:
http://www.publicknowledge.org/issues/ow

Illustrator Partnership’s Orphan Works Resource Page:
http://www.illustratorspartnership.org/01_topics/article.php?searchterm=001...

Picture Licensing Universal System – a solution to prevent “orphans,” and more:
http://www.useplus.org

The Universal Photographic Digital Imaging Guidelines (includes image metadata info):
http://www.updig.org

Sigma 200-500 Lens

Sigma Photo USA.  This ultra telephoto zoom lens offers a fast aperture of F2.8 at the 500mm focal length and F5.6 at the 1000mm. It covers widely used focal lengths from 200mm to 500mm and has a large aperture of F2.8 throughout the entire zoom range. This lens can be used to create amazing image expression with various types of photography such as astrophotography, portraits, wildlife, sports. SLD (Special Low Dispersion) glass and three ELD (Extraordinary Low Dispersion) glass elements provide excellent correction for all type of aberrations. The super multi-layer coating reduces flare and ghosting and provides high image quality from the extremely large aperture. The lens hood, designed exclusively for this lens, blocks out extraneous light. A 72mm filter can be inserted at the rear of the lens, and a circular polarizing filter can be used in situ thanks to the ingenious internal rotation mechanism. The dedicated Li-ion battery BP-21 is used to power the zooming and AF operation. This battery is built in the lens barrel. For the convenience of the photographer, focusing distances and focal lengths can be viewed on the lens` built-in LCD panel.

No price released yet.

Officially 80,000 people have visited my Hurricane Katrina photo gallery on pbase.com and hundreds have left heartfelt messages.  Check it out at http://www.pbase.com/dbphotos/hurricane_katrina .

In addition to the gallery visits I have seen 675,000 individual views of my images on my pbase.com pages.  I look forward to adding more images in the future that will entertain, delight and inspire others.

Tanker Crash on I35E in Corinth Texas, originally uploaded by dbphotography.

This image is entered into a photo contest with VH1 under the "disaster" category. If you are so inclined, please vote here: http://www.theshotspot.com/photos/view/67306