by Neill on July 12, 2010
I‘ve been spending an awful lot of time behind the wheel just recently, more often in front of cameras instead of behind. This has lead to a couple of disturbing comments from my colleagues about similarities…
First off, I was working with fellow car photographer Tim Andrew in Northumberland recently. I’ll write more about why we were flying around the A Roads in a little Mercedes C Class another time, but towards the end of the day, Tim rigs up his favourite fill-flash and zaps off a couple of shots of me for a new avatar. Many thanks, Tim!
But the disturbing thing is that Tim reckons I’m a dead ringer for ex-F1 driver John Watson. That’s fine except that the other Mr Watson is considerably older than me…
Neill Watson, John Watson or Derek Bell? You decide...
If that wasn’t enough, just a few days earlier, I’d been working on track in a Ferrari and the inevitable event photographer’s gallery was around. Fellow instructors saw a shot of me that they swore made me a dead ringer for Derek Bell…..
Normally, I'd be very pleased indeed to be mentioned in the same sentence with either man. After all, they're both pretty successful behind the wheel. The disturbing thing is that they're both several decades older than me, with quite a few more miles on the clock.
I guess it’s time I started to moisturise a little more often
by Neill on June 24, 2010
Last time I grabbed a Canon EOS 1D4, it was in a winter period when there was little happening on the car photography front, so the test I did back then concentrated on it’s low light capabilities. But I was still interested to see what it brought along to a car photo shoot, where outright speed is not vitally of the essence, but accurate AF and consistent results are what’s needed. I’ve been asked several times for a quick follow up from the original article, so sorry it’s a bit late!
Fast forward to last month when Phil Raby at Total 911 tells me we’re going to be shooting two icons, a Porsche 959 and Ferrari 288 GTO. A quick call to the guys at The Flash Centre in Leeds nabs their demo 1D4 for the days of the shoot, 1DS packed as a spare and off we go. [click to continue…]
by Neill on April 19, 2010
Apologies if I’ve seemed a little obsessed with the Digital Economy Bill this past week or two. I hope my Twittering hasn’t been too big a turn off, but I felt it was important, so here’s an explanation why:
As a photographer, I make my living from both commissioned work and my back catalogue of images. This archive is a combination of commissioned work where the licence or exclusivity period has ceased and the images may have a value to thers, plus other stock images shot specifically for that market. I’m in the process of overhauling my websites and shortly will be licencing images direct to buyers using photoshelter, more later.
Images such as the Stirling Moss and model are continual sellers, especially taking into account his recent accident with the lift shaft…. This income enables me to build a viable business model, in addiction to undertake work at rates that may not normally be viable. See my post on Working For Free for more on this.
So you can imagine the impact that Clause 43 of the Digital Economy Bill would have on my livelihood. It was time to defend my business.
It’s often said that getting photographers to agree on anything is like herding cats. We’re an individual bunch, if you get my drift and in the past, that has proved our undoing. Negotiations with large corporations like Getty have gone badly wrong. This time, for some reason, it all came together with the formation of Stop 43. This website, with representatives working hard behind the scenes and establishing direct contact with MP’s in London were able to spread the word and bring pressure to bear in a way that I can never recall before.
By harnessing the power of social media on Twitter and Facebook and bringing a reasoned argument to bear, the issue was discussed in a way that has perhaps never been done before. BAPLA’s appalling attitude, the vested interests of the large companies and groups pushing forward the bill were all highlighted, giving in the best result for photographers since the original copyright act was introduced.
The important thing now is to move forward and introduce a new dialog to give a fair deal for photographers as well as finally tackling the genuine issue of orphan works and how they can be brought out for society to see and non-profit organisation to benefit from, without independent creators being hammered by large corporations.
by Neill on March 31, 2010
Many publishers and other users of intellectual property are quietly rubbing their hands at the prospect of the new Orphan Works Clauses being championed by various people in the UK right now. But there are several reasons why you should be concerned, whether you are a photographer, publisher, non profit organisation, or even just someone who puts their family photos on their local community website.
I won’t re-write what’s already been said, but instead strongly suggest you read about the situation here:
http://www.stop43.org.uk/
Don’t get me wrong. I’m all for non-profit organisations using content. It’s a GOOD THING that museums, art galleries and other community organisations should be able to publish old photography and artworks without risk of a law suit if the creator really cannot be found. It gets work that would otherwise be unseen out there for people to see and helps them create income. BUT the new legislation also allows ANYONE to jump on the same band wagon and use this badly worded proposal for their own commercial benefit with payment of only a token fee to a central collection agency. It makes no consideration for the intended image use, the people depicted in the image or whether it’s a commercial use for a huge advertising campaign or editorial use. Justin Leighton provides an excellent example of how an image like the one below can earn totally different fees for different uses here.
Buring Europe Flag Paris - copyright Justin Leighton
Not only that, but the image can be used for all manner of commercial and advertising uses with no come-back. If you skipped past it, take a look at the image a the start of this. We all have images similar, or friends & family in similar poses.
So why are so many supposedly pro-creative organisations pushing for this? Because the BBC, the British Film Institute and others all have large archives of other people’s material that they could make a handsome income from, if only they didn’t have to worry about that pesky annoyance of having to pay the creator. NONE of the people and organisations that are arguing for this actually create anything. They make their money from leveraging other people’s material by publishing and broadcasting. Imagine if they could use this material, pay a nominal fee and simply plead ignorance with no legal redress from the author / creator?
Finally, the one single thing that no-one has bothered to tell these people is the consequences of using an image from an overseas source. We live in a very small world these days and images can easily be traced internationally. Only last year, Getty inflicted a hard blow to someone here in the UK, from across the Atlantic, for using an image without permission.
Many USA based photographers I know are simply saying, “Bring it on, we’ll see you in court”
That could well be a USA court, by the way…..
I love seeing my work being used well, both by people who commission me and also by others who may have blogs or other purely personal websites about cars, photography and other related subjects. I see no benefit in putting up barriers for genuine clients and enthusiasts, but this bill is bad for everyone. Indeed, such is the nature of this legislation that several UK based creators I know are actively considering moving their business base outside of the UK for their own protection. And that can’t be good for anyone.
by Neill on March 27, 2010
Here’s a big heads up and a shout out for everyone at The Yorkshire Air Museum. We’re doing quite a lot of photography and other work with them right now and we’ll be able to talk about all that shortly. But yesterday, they sent out the exciting press release that they’ve had to be so tight lipped about for so long.
On 13th April, they’re going to be getting their hands on a Nimrod MR2. Not only that, it’s NOT just going to be an empty shell, with no motors or interior, this one will be the full, operational, working aircraft. Here’s their press release:
Elvington will be the only Museum in the world to display a LIVE example of the remarkable Nimrod military reconnaissance aircraft.
Nimrod MR2, XV250 will be flown from RAF Kinloss into Elvington on April 13th where it will be maintained in full ground operational capacity as a ‘live’ aircraft.
From now XV250 will be part of the Museum’s world class collection, alongside the huge Victor V-Bomber and Buccaneer Strike aircraft and will stand as a permanent tribute to the 14 British servicemen killed in Afghanistan when Nimrod XV 230 crashed at Kandahar on 2nd September 2006.
The multi million pound Nimrod was developed from the Comet, itself a revolutionary design which was the world’s first jet airliner. Much of the development for the Nimrod was undertaken at BAe Systems at Brough, East Yorkshire, giving the aircraft a special local connection.
Nimrod, the ‘mighty hunter’ is found in the Book of Genesis, and for over 30 years the aircraft has continued to play an exceptional role in the defence of the British Isles and support in other operational theatres. The ‘submarine hunting’ role has developed into strategic military intelligence gathering, utilising state of the art equipment. The Nimrod MR2 has been described as the world’s largest fighter, with the capability to carry Sidewinder air to air missiles!
Museum Director, Ian Reed said, “We have been working closely with our colleagues in the RAF for over a year on this project and are delighted at the confirmation announced today. Yorkshire Air Museum is probably the only major Museum in Europe capable of operating large jets of this type and in this way. It is also very appropriate that, as the Allied Air Forces Memorial, we are able to make a significant contribution to the memory of those servicemen in Afghanistan and Iraq who have lost their lives and those who daily risk their lives in the service of our country”.
It’s a huge boost for the museum, as I imagine the plan is to let visitors look inside the aircraft and see what a fully operational Nimrod, recently working over Afghanistan, looks like up close. It’s sure to be a popular event and visitors will be welcome to see the arrival. If you’ve an ounce of passion in you for things mechanical, be there…
by Neill on March 16, 2010
The history of our armed forces is a subject close to my heart. Forget the politics, I just appreciate the sacrifice that ordinary people have made over the years. Last week, I was shooting background plates for a new website project for The Yorkshire Air Museum’s new site, going live in April. In the edit, this shot leapt out at me. Not because it’s technically perfect, far from it. In fact it was just a fire-from-the-hip shot and I’ll re-shoot it again later.
But it brought home to me the loneliness of the rear air gunner position in a World War Two bomber. Add in the shuddering statistic of a life expectancy of around two weeks and it made the hairs on my neck rise….
