Getty Images Search Guide
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Film Camera That Is Recommended by Photographers
Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to. -
Photojournalism Photojournalism
Photojournalism For this section, we'll be looking at photojournalism's impact on shaping people's opinions of the news & world events. Photojournalism From Wikipedia, the free encyclopedia Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). -
Contents Page
‘An evaluation of Flickr’s distributed classification system, from the perspective of its members, and as an image retrieval tool in comparison with a controlled vocabulary’ A dissertation submitted for an MA in: Information Services Management London Metropolitan University September 2008 By Samuel Piker Abstract The profusion of digital images made available online presents a new challenge for image indexing. Images have always been problematic to describe and catalogue due to lack of inherent textual data and ambiguity of meaning. Because professionally- applied metadata is not practical for most open, web-based collections a solution has been sought in the form of tags, simple keywords that can be attached to an image by any web user. Together tags form a flat structure known as distributed classification, or more popularly as a folksonomy. This research follows the debate surrounding folksonomies and aims to fill the gaps in understanding of why people tag and how effective they find them for searching, using the photo-sharing website Flickr as the focus. Open-ended questionnaires were sent out to members of the site who use tags, with the opportunity to post comments to an online discussion space. The other key gap identified in the literature is a systematic comparison between a tag-based system and a more traditional controlled vocabulary, to test out the claims made regarding tagging’s suitability for searching and browsing. For this purpose Flickr has been compared with Getty Images using a series of test themes. The small number of people who replied to the questionnaire gave detailed answers that confirmed several of the assertions made about tags: they are accepted despite their flaws (sloppiness and potential for inaccuracy) because they serve their purpose to a satisfactory level. -
Getty Images Premium Access
GETTY IMAGES’ PREMIUM ACCESS CONTENT COLLECTIONS LIST (Effective September 21, 2017) STILLS COLLECTIONS RM – House RM – Partner Allsport Concepts ABSODELS Archive Photos ACP Bettmann AFP Creative Corbis All Canada Photos Corbis Documentary Altrendo Corbis Historical amana images Fototrove America 24-7 Hulton Archive arabianEYE Moment Arcaid Images Oxford Scientific Art Images Photographer's Choice RM Asia Images Photolibrary Aurora Retrofile RM AWL Images Stone Axiom Photographic Agency Taxi Biosphoto Taxi Japan Blend Images The Image Bank Bloomberg Creative Photos Canopy Car Culture ® Collection CGIBackgrounds China Span Collection Mix: Subjects Conde Nast Collection Cultura Exclusive DAJ De Agostini Picture Library Discovery Channel Images Dorling Kindersley EyeEM F1online First Light Folio Images Gallo Images Glow hemis.fr Historic Map Works Hola Images Ikon Images Illustration Works ImageBROKER Images Bazaar Imagezoo ImaZinS Johner Images LatinContent Lonely Planet Images LOOK Mayo Clinic Collection Mint Images Nativestock Nature Picture Library Neo Vision Nordic Photos NYonAir Panoramic Images Passage Perspectives Photononstop Picture Press Publisher Mix Refinery29 Riser robertharding RooM SambaPhoto Science Photo Library Sebun Photo Stock4B StockFood Creative SuperStock Topic Images Universal Images Group Untitled X-Ray UpperCut Images View Stock VisitBritain WaterFrame Westend 61 WIN-Initiative Yann Arthus-Bertrand RF – House RF – Partner Corbis ABSODELS Corbis Unreleased Alloy DigitalVision amana images DigitalVision Vectors arabianEYE -
How to Use Eye-Catching Images Without Paying A
HOW TO USE EYE-CATCHING IMAGES WITHOUT PAYING A FORTUNE OR A LAWYER HELEN SEDWICK AND JESSICA BROWN TEN GALLON PRESS Copyright © 2014 by Helen Sedwick and Jessica Brown www.helensedwick.com www.tengallonpress.com All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without the written permission of the publisher, except where permitted by law. This guide should not be used as a substitute for the advice of competent legal counsel from an attorney admitted or authorized to practice in your jurisdiction. You should never delay seeking legal advice, disregard legal advice, or commence or discontinue any legal action because of information in this guide. Ten Gallon Press Santa Rosa, CA Images Are Important It’s a visual world. Words alone, no matter how insightful, will not draw readers to your blog or books. You will need eye-catching images for your covers, website, social media banners, bookmarks, and book videos. Images communicate tone and pull in readers long before they discover your prose. If you are a speaker or educator, the right image illustrates your points, evokes emotions, and perks up your audience. Finding images is easy. Search the internet and voila, thousands of choices. Finding images has become so easy, many people forget those images result from someone’s hard work and are protected by copyright. Some people still think anything posted on the internet is free to use. Not true. Images, like texts and music, are intellectual property. -
These Works Reflect on the Stock Photography Company Getty's Dominance in the Market, Capitalization, and Control of Images On
PRESS RELEASE Berlin, September 10, 2019. Property Artwork by Paolo Cirio. These works reflect on the stock photography company Getty’s dominance in the market, capitalization, and control of images on the Internet. The series adopts the semantics of appropriation art through transforming images into compositions of colored shapes and texts, which overlay with the prints of the original photos appropriated from Getty’s websites. Property examines images as a form of capital accumulation, bound by intellectual property laws, trade agreements, legal contracts, and litigations. Getty aggregates images from public archives, agencies, and photographers; then it repackages them with legal terms to exclusively license and sell millions of photos. Images become an asset and a revenue stream, with Getty Inc becoming a monopoly and a gatekeeper of photos (see gettyimages.com, photos.com, images.com, etc). To dominate the economy of images at a time in which the Internet allows easy reproduction and sharing, Getty Images Inc aggressively controls and polices the use of photos through extensive legal threats and litigations. While limiting access, Getty Images Inc, acquires archives and collections by any means and strikes agreements with search engines and publishers to lure viewers to their sites. These often deceptive and aggressive business practices are necessary for Getty to gain control over the market of photos. With the series Property, White House, Cirio found historical photographs of U.S. presidents in the public domain that Getty Images Inc. licenses and sells on their platform. This series questions the use, trading, and ownership of photo archives through utilizing direct evidence of Getty’s deceptive marketing of public domain images. -
The Stock Photography As a Part of Cultural and Creative Industries of the Digital Age
THE STOCK PHOTOGRAPHY AS A PART OF CULTURAL AND CREATIVE INDUSTRIES OF THE DIGITAL AGE Zorislav KALAZIĆ , M.Sc. Ph.D.Student, Faculty of Economics in Osijek, Croatia [email protected] Jasna HORVAT , Ph.D. Faculty of Economics in Osijek, Croatia [email protected] Josipa MIJOČ , Ph.D. Faculty of Economics in Osijek, Croatia [email protected] Abstract Photography of the digital age has lost the properties of a physically tangible product and has become intellectual property. Simultaneously with this process, the process of transition of photography into a mass-produced good has taken place. Market demands towards photography as a product of mass consumption often reduce the aesthetic and artistic standards that have been set by its develop- ment period in the process of photography coming to life as a medium. Despite the negative eff ects that accompany the transition of photography in its process of transformation into a mass-produced good, even such photographic “products” are able to encourage to a particular activity and ultimately generate revenue for numerous industries standing in the background of the “photography-product”. Production and distribution of stock photographs 1 is one of the derivates of the 1 Stock photography derives from the word „stock“ and implies the sale/rent of an already existing pho- tograph, which was not taken according to the customer’s order. On the other hand, the use of stock INTERDISCIPLINARY MANAGEMENT RESEARCH XI 189 digital age in which business in the domain of production of photographs is ex- panded to their distribution to users of websites and/or digital communication channels. -
Image Manipulation
IMAGE MANIPULATION Photo manipulation (i.e.: changing the content of a photograph) is a very serious issue in the editorial photo industry. Acceptable Changes Cropping. Minor color adjustments. Limited lightening or darkening. Limited sharpening. The removal of dust resulting in a dirty lens or sensor. Converting a color image to black & white. Creating a true silhouette effect from an image. Removal of Red Eye (caused by Flash Photography) as long as it does not affect the context of the photography. Unacceptable Changes Any other changes not included in the preceding list of Acceptable Changes, including but not limited to the following: Adding or removing objects or information that weren’t in the photograph to begin with. Extreme color, lightening and darkening adjustments using Photoshop or any other computer software ( i.e., making a gray sky blue, a blue sky orange or a gray subject black. Changing the editorial content of any image is unacceptable. On-camera filters The use of on-camera filters (including Polarizing, graduated, star burst or special effects filter) is acceptable. However, any photographs created by using these filters MUST include the following line at the front of the caption field and special instructions field: Caption example: NASHVILLE , TN - APRIL 09: (EDITOR'S NOTE A special effects camera filter was used for this image): Joe Rightwing #21 of the Nashville Predators skates during warm ups on April 9, 2014 in Nashville, Tennessee. (Photo by Joe Photo/Getty Images) It is the responsibility of the individual Photographer who has taken a photo with a filter to make sure that this Editor Note is clearly written in the main body of the caption on each photo before it is transmitted to the Picture Desk. -
Getting Started in Stock Photography
A Quick Guide To Getting Started In Stock Photography A Special Report By From Matt Brading CEO/Founder OzImages International Pty Ltd Stock Library & Freelance Photographer Search This is a free ebook! You are encouraged to give it away or sell it in any way you see fit but you may not change any of the contents in any way. This ebook is copyright protected. The ebook is Copyright © Matt Brading. This ebook is supplied for information purposes only and the material herein does not constitute professional advice. This ebook is designed to provide accurate and authoritative information with regard to the subject matter covered. It is distributed with the understanding that the publisher and the contributors are not engaged in rendering legal, accounting, or other professional advice. If legal advice or other professional assistance is required, the services of a competent professional should be sought. The reader is advised to consult with an appropriately qualified professional before making any business decision. Matt Brading and any additional contributors do not accept any responsibility for any liabilities resulting from the business decisions made by purchasers of this book. *EARNINGS DISCLAIMER: Results are not typical. Your results may vary. We make no claim whatsoever that you will earn any income using this ebook or any strategies or techniques outlined within. Where specific figures are quoted from individuals, they are simply examples of what is possible and there is no assurance you will do as well. Introduction: Thanks for downloading this report. I'll keep it short-and-sweet because all the best photographers I've encountered over the years are always extremely busy and they just aren't interested in 'fluff' . -
Highsmith V. Getty Images
Case 1:16-cv-05924-JSR Document 1 Filed 07/25/16 Page 1 of 38 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ____________________________________ : CAROL M. HIGHSMITH, : : Plaintiff, : : v. : 16 CIV. 5924 : GETTY IMAGES (US), INC., : LICENSE COMPLIANCE SERVICES, : JURY TRIAL DEMANDED INC., : PICSCOUT, INC., : ALAMY, INC., : ALAMY, LTD., and : JOHN DOES 1 TO 100, : : Defendants. : ____________________________________: COMPLAINT Plaintiff Carol M. Highsmith (the “Plaintiff” or “Ms. Highsmith”), by and through her counsel the GIOCONDA LAW GROUP PLLC and CARSTENS & CAHOON, LLP hereby brings this Complaint against Defendants Getty Images (US), Inc. (“Getty”), License Compliance Services, Inc. (“LCS”), Picscout, Inc. (“Picscout”), Alamy, Inc., Alamy, Ltd. (collectively, “Alamy”), and John Does 1 to 100 (Getty, LCS, Picscout, Alamy and John Does 1-100, collectively, the “Defendants”), and respectfully alleges as follows upon information and belief, except for allegations regarding the Plaintiff or her counsel: NATURE OF CASE 1. This is a copyright lawsuit brought by distinguished American photographer Carol M. Highsmith under the Digital Millennium Copyright Act (“DMCA”), 17 U.S.C. §§ 1202(a), 1202(b) and 1203, based upon the Defendants’ gross misuse of Ms. Highsmith’s photographs – more than 18,000 of them. PLAINTIFF’S ORIGINAL COMPLAINT PAGE 1 OF 38 Case 1:16-cv-05924-JSR Document 1 Filed 07/25/16 Page 2 of 38 2. In December 2015, Ms. Highsmith received a letter addressed to her nonprofit organization from the Defendants accusing her of copyright infringement and demanding payment for displaying one of her own photographs on her own website. See attached Exhibit A. 3. -
Getty Images North America Premium Access Standard Terms and Conditions
GETTY IMAGES PREMIUM ACCESS STANDARD TERMS AND CONDITIONS 1. Definitions. In this Agreement the following definitions apply: 1.1 “Download Cap” means the maximum number of items of Licensed Material that can be downloaded by Licensee and/or Users, as specified in the Commercial Terms. 1.2 “Editorial Licensed Material” means any and all RM Editorial Licensed Material and RF Editorial Licensed Material. 1.3 “Fees” means the license fees paid by Licensee to Getty Images in consideration of the license rights granted under this Agreement, as specified in the Commercial Terms. 1.4 “Getty Images Website” means the Getty Images website where Licensed Material will be made available to Licensee, located at http://www.gettyimages.com or any successor URL. 1.5 "Licensed Material" means Stills/Video Licensed Material and Music Licensed Material, as specified in the Commercial Terms. Any reference in this Agreement to Licensed Material shall be to each individual item of Licensed Material and also to Licensed Material in the aggregate. 1.6 "Licensee Work" means an end product, production, program or service that has been created by or on behalf of Licensee using independent skill and effort and that incorporates a Reproduction of Stills/Video Licensed Material and/or Music Licensed Material that has been Synchronized (as defined in Section 11.1), as well as other material. 1.7 “Licensee’s Website(s)” means the website(s) owned or operated by Licensee, as specified in the Commercial Terms. 1.8 “Music Licensed Material” means sound recordings (the “Masters”) and musical compositions, including lyrics, embodied on the Masters (the “Compositions”) from the Music collections specified in the Commercial Terms that are licensed to Licensee by Getty Images under the terms of this Agreement, including without limitation Section 11. -
Digital Photography II (Elective)
Course Scope & Sequence TCH032: Digital Photography II (Elective) Course Overview | Course Length | Materials | Prerequisites | Course Outline COURSE OVERVIEW In today’s world, photographs are all around us, including in advertisements, on websites, and on the wall as art. Many of the images have been created by professional photographers. In this course, students learn about various aspects of professional photography, including the ethics of the profession, and examine some of the areas that professional photographers may choose to specialize in, such as wedding photography and product photography. Students also learn about some of the most respected professional photographers in history and how to critique photographs to better understand what creates an eye-catching photograph. COURSE LENGTH One semester MATERIALS Digital camera (not supplied) A cell phone camera will not fulfill the requirement for this course. NOTE: List subject to change PREREQUISITES None COURSE OUTLINE Unit 1: Photography as a Career Unit 2: Legal and Ethical Concerns Unit 3: Photographers and Critiques Unit 4: Photography Software Digital Photography II Midterm Exam Unit 5: The Darkroom Unit 6: Art, Product, and Stock Photography Unit 7: Photojournalism Unit 8: Wedding Photography Page 1 of 2 © 2014 K12 Inc. All rights reserved. K¹² is a registered trademark of K12 Inc. The K¹² logo and other marks referenced herein are trademarks of K12 Inc. and its subsidiaries, and other marks are owned by third parties. Course Scope & Sequence Digital Photography II Final Exam COURSE OBJECTIVES Discuss professional photography and what this career is like. Discuss the different types of professional photography. Examine some of the steps to becoming a professional photographer.