Sir Paul McCartney and wife Nancy cosy up at his Photographs 1963-64: Eyes of the Storm National Portrait Gallery exhibition as Ronnie Wood and partner Sally attend glitzy event

By Owen Tonks For Mailonline

Published: 21:10 EDT, 26 June 2023 | Updated: 03:31 EDT, 27 June 2023

Sir Paul McCartney and his wife Nancy appeared in good spirts as they cosied up at the private view of the Paul McCartney Photographs 1963-64: Eyes of the Storm exhibition at the National Portrait Gallery in London on Monday.

The Beatles star, 81, looked dapper in a black suit and light blue shirt while American businesswoman Nancy, 63, rested her head on his shoulder.

She could be seen smiling as the couple posed in front of a picture of Sir Paul’s band The Beatles, while she wore a blue satin dress which was cinched in at the waist.

The pair were joined at the star-studded event by Ronnie Wood and his wife Sally, with the couple posing arm-in-arm on the evening.

Rolling Stones star Ronnie, 76, looked dapper in a black jacket and matching trousers while he wore a striped shirt.

Film producer Sally, 45, looked stylish in a black dress with a multi-coloured paisley pattern.

The garment was cinched in at the waist and featured short pleated sleeves.

She wore lashings of make-up, opting for a red lip, and donned a heart-shaped pendant on a chain around her neck.

Sir Paul was joined by a number of friends at the exhibition, including Pretenders singer Chrissie Hynde 71, who posed alongside him.

She looked chic in a black suit with orange stripes on the lapels of the jacket and carried a black bag with her.

Sir Paul was also joined by his famous daughter Stella McCartney who was seen posing next to pictures of her father from his Beatles days.

The fashion designer, 51, showed off her edgy sense of style in a black jacket dress with silver studs on it. 

A series of photographs taken by Sir Paul McCartney are to go on display at the National Portrait Gallery in London from Tuesday.

The 80-year-old icon took the photos during The Beatles’ early days, and Sir Paul offered them to the gallery – which has reopened to the public following three years of refurbishments – after her stumbled across the images in 2020.

Dr Nicholas Cullinan, the gallery’s director, said: ‘The McCartney exhibition is very interesting.

‘Actually Sir Paul approached us I think back in 2020 and said he had found these photographs which he remembered taking but thought had been lost. And so we sat down with him and began going through the photographs and they are really extraordinary.’

Sir Paul took the photos between December 1963 and February 1964, and they include behind-the-scenes shots of the band’s first TV appearance in the US.

Paul McCartney Photographs 1963-64: Eyes of the Storm will run between June 28 and October 1.

Nicholas added: ‘To see these images which are unseen, of such a well-documented, such a famous and important cultural moment…

‘And the fact they were taken by someone who was really, as the exhibition title alludes, in the eye of the storm, looking outside at what was happening.’

Sir Paul says his late Beatles’ bandmate John Lennon ‘had a tragic life’.

The music legend reflected on the loss of his co-star – who was murdered in 1980 – during a talk in New York City for the Tribeca Film Festival’s ‘Storytellers’ series as he went through images in his new book and host Conan O’Brien declared Lennon looked ‘anxious and vulnerable’ in one of the snaps.

Sir Paul then revealed how John’s tough early years had affected his temperament as an adult, saying: ‘I don’t know about the anxiety, but the vulnerability is very true.

‘[John] had a really tragic life. As a kid, his mother was decreed to not be good enough to bring him up … His father had left the home when John was three. 

‘So that’s not too wonderful. John grew up with these sort of little minor tragedies through his life…

‘It made me realise why he had that vulnerability. I always admired the way he dealt with it because I’m not sure I would deal with the stuff he went through that well.’

Sir Paul also commented on another picture which showed the Beatles on a plane bound for New York City before their appearance on The Ed Sullivan Show in February 1964 as Beatlemania took off in the US.

The 80-year-old musician said of the snap: ‘We were very excited just to be on the plane to New York. 

‘But what happened was the pilot’s radio ahead to Idlewild Airport, as it was called then, and they got word back to us that there was a big crowd [waiting for us]. 

‘So we kind of half knew what to expect. But then it was a really big crowd and we were just bowled over. It was nice.

‘Immediately after, we did a press conference at the airport, and we knew that whatever they laid on us, if there was any sort of insult, we knew we could come back with: “Well, we are number one in your country”.’

An introduction to and excerpt from Through Shaded Glass, Lissa Mitchell’s gargantuan effort to reveal and honour the many, many women in Aotearoa’s history of photography.

Through Shaded Glass evolved from many years of researching photographs made by Pākehā men during the 19th and early 20th centuries. I became curious about who else had also used photography during this time and what they did with it. Basic questions really: was there really only a handful of women involved in photography? And why are their legacies largely overlooked?

I also wanted to know about Māori who took photographs, and disrupt the notion that Māori only appeared in photographs. It also seemed that finding out what was exceptional about our photographic history here in Aotearoa compared with everyone else was to understand more about the women who made photographs here – what aided and limited them. What kind of society made these photographers?

Locating information about women during this era is a challenge as they were not part of many official records. Often unless something exceptional or tragic happened to them, it’s hard to find out more about them. Also, the majority of photographs were not made as artworks so assessing them as such is unrealistic. The collecting of photography by public institutions and the writing about it has also been selective around similar biases. For example, the archive of a photographer, or studio, is often regarded as important simply because it is large, and smaller holdings are dismissed. It is also important to acknowledge when cultural artefacts are the work of multiple makers (though only one person’s name or brand appears on it) that manual labour was used to produce the photograph, even if we don’t know who those makers were.

As research continued, however, the list of names kept growing to well over 400 – and it continues to grow. The work of giving back from this research will continue beyond the publication of the book and I am seeking to update and share the details of the makers I have found. 

In the 1890s, several Māori women are known to have worked in photography. The discovery of early Māori photographers undermines assumptions that Māori became involved with photography only as the subjects of ethnographic imagery. 

Katarina Hansard (née Īhāia, Ngāpuhi), c.1860–1906 – G. A. Hansard Studio, Kaikohe

Katarina Hansard (née Īhāia, Ngāpuhi) was the daughter of Reverend Īhāia Te Ahu and his wife Katarina Hāpimana (also known as Catherine Chapman). The younger Katarina married George Hansard and the couple had a daughter, Aneta. George was reported as “our local photographer” in the Awanui region, north of Kaitāia, in 1892, but by September that year the family had relocated to the booming township of Kaikohe and had built a “handsome little edifice” on the main street as their photographic studio.

Although the studio was in George Hansard’s name, he was busy working as a Native Land Court agent, interpreter and hotelier and the studio was run by Katarina, assisted by Aneta. What is known of Katarina’s work is recorded in the 1897 Auckland volume of The Cyclopedia of New Zealand, which featured a portrait of her and which also published a series of views she took of Northland. 

In 1899, the Hansards relocated to Kawakawa, where George bought the Star Hotel. The photographic studio operated from a building in the main street. Less than a year later, George disposed of his interest in the hotel and in June 1900 he was on trial in the Supreme Court in Auckland for perjury. Hansard was found not guilty but the family moved south.

In early December 1900, they were in Christchurch looking for a house to rent, and by Christmas they were advertising as “Hansard and Co.” photographers, and running the Zealandia Studio in Gloucester Street. Only four months later, Hansard & Co. was operating the American Studio at 210 High Street, proclaimed to be the “finest studio in the colony”.

Two months later, they had relocated to Dunedin and could take portraits “by flashlight every evening” in their Zealandia Studio in the Royal Arcade (known as Fleet Street, situated between High and MacLaggan streets). The business was still there when Aneta, “of the Royal Arcade Photographic Studio”, injured her ankle when she collided with a hansom cab while riding her bicycle in Princes Street. 

From July 1902, advertisements appeared together in Dunedin newspapers offering private tuition at 35 Princes Street in both te reo Māori by GA Hansard and lessons in photography at the “School of Photography”, which promised to teach all aspects of the medium; retouching was a specialty. One advertisement linked two of the Hansard businesses: “photographs taken by Hansard and Co., Arcade, will be delivered from School of Photography, Princes Street”.

It is not clear how the workload was shared within the family, but the photography school and the studio were possibly mainly Katarina’s and Aneta’s enterprises. The final advertisement for photography classes appeared in September 1902. Katarina died on 18 November 1906 after suffering from tuberculosis for two years. 

Through Shaded Glass: Women and Photography in Aotearoa New Zealand 1860–1960 (Te Papa Press, $70) can be purchased at Unity Books Wellington and Auckland.

First they were ours, for a brief and precious moment. Then, suddenly, they belonged to the world. Eyes of the Storm, the exhibition of Paul McCartney’s photographs at London’s newly reopened National Portrait Gallery, depicts with great clarity and special intimacy the handful of weeks in which the Beatles were transformed from a local celebration into a global phenomenon. Whatever their merits as art, McCartney’s hitherto unseen photos, taken between December 1963 and February 1964, record a pivotal moment in popular culture.

The sequence of 250 backstage and off-duty images begins at the Liverpool Empire, a triumphant return home for the group during a UK tour reaching its climax at Finsbury Park Astoria in north London, where their 16-night Christmas variety show also features the actor Dora Bryan, recently in the charts with All I Want for Christmas Is a Beatle. Then, early in the new year, come 18 sold-out days and nights at the venerable Olympia music hall in Paris, playing two and sometimes three shows a day to a new generation of yé-yé fans at the top of a bill including acrobats and comedians.

Within days they are in New York, appearing on the Ed Sullivan Show and conquering the hearts of a nation whose teenagers have, until this moment, been content to worship home-grown idols. As the Beatles travel on to snow-covered Washington DC and sun-kissed Miami Beach, I Want to Hold Your Hand is topping the US charts and the British invasion has begun.

McCartney wasn’t a photographer, although later he would marry one, and later still a daughter of that marriage would become one. (His older brother has also worked as a photographer, and Mike McCartney’s wonderful study of Paul and John Lennon playing acoustic guitars together, heads down as they work on a song, is part of this exhibition.) But Paul fondly remembers, as many of his contemporaries would, the experience of loading his parents’ primitive “Kodak box Brownie” with a roll of film good for only eight exposures, generally considered quite enough to record an entire postwar family holiday.

In 1963, as Beatlemania swept Britain, and perhaps partly in retaliation against now being constantly confronted by the lenses of newspaper and magazine photographers, McCartney acquired a 35mm Pentax. Small enough to carry with him on tour, it enabled him to capture moments offstage with his bandmates and their entourage.

From the ever-present professionals, he could solicit advice. Dezo Hoffmann, a Czech émigré who had flown with the RAF in the second world war and now worked for Record Mirror, was one; he had travelled to Liverpool to photograph the Beatles in 1962 and stayed close. Robert Freeman was another; he had recently been hired by Brian Epstein, the band’s manager, to take the striking chiaroscuro shot, influenced by French new wave cinema, for the cover of With the Beatles, their second album. Closer to their age, Freeman looked like he belonged in their gang.

After McCartney’s films were developed, he marked up his favourite shots on contact sheets with a chinagraph pencil, as he’d watched the pros do. In the absence of the original negatives, lost over the years, many of the images in this show are printed from the contacts. Some softening is inevitable but unimportant; it suits the best of the black and white shots. Anyone would be proud of Paul’s image of Ringo Starr in a tricorn hat, taken during their stay in Paris, while his discernment is shown in the choice between two very similar shots of George Harrison: he selects the less obvious but more intriguing of the pair.

Among those who pass before his lens are Epstein, faithful crew members Neil Aspinall and Mal Evans, Cilla Black, Paul’s girlfriend Jane Asher, David Jacobs, host of the special Beatles edition of BBC TV’s Juke Box Jury, and Sylvie Vartan, their co-star at the Olympia, and her boyfriend, Johnny Hallyday. The novelty of a first visit to New York is captured in shots of skyscrapers and NYPD officers on horseback, penning back the fans outside their hotel.

In those innocent days their circle was relatively porous, with no permanent ring of personal security to guard them. Hence the presence of Murray the K, the soi-disant “fifth Beatle”, the radio DJ who had broadcast his show from their suite at the Plaza in New York and followed them to Miami, where he joined them by their hotel pool, in swimming trunks. There’s a quayside photo of Diane Levine, a pretty brunette who accompanied Paul to a drive-in movie in Miami.

The convulsion set off by that short US trip is reflected in McCartney’s acquisition of colour film. Superficially, the results seem less “serious” – like going from character studies to holiday snaps. But the switch reflects a deeper sense of how their world was changing, almost overnight, as they took everyone along with them for the ride of a lifetime.

• Paul McCartney Photographs 1963-64: Eyes of the Storm is at the National Portrait Gallery, London, from 28 June to 1 October

Of course, that’s not the point of this exhibition, organised by an institution that has always prioritised celebrity over art. McCartney’s images might be blurry, but what they do offer us – which few others could – is an unguarded view of life as a newly minted international superstar. 

Other people and places are glimpsed, more often than not, through the window of a chauffeured car or plane. Cameras and crowds are everywhere. 

And through it all, The Beatles keep working – and playing. Who else could have got the shot of Ringo Starr looking bored and weary, backstage before a show in Liverpool? Or of John Lennon grinning goofily, arms outstretched and mop-top slick with water, in a pool in Miami? Somehow, the ordinariness of these photographs is also the most remarkable thing about them.

From tomorrow until Oct 1. Tickets: npg.org.uk

Ah, the allure of the sea! The crashing waves, the salty air, and the breathtaking beauty of the coastline. If you’re a beginner photographer looking to embark on a seascape photography journey, you’re in for a treat. Seascapes offer a wealth of stunning photographic opportunities, but getting started can seem a bit daunting. Fear not! In this article, we’ll explore the five essentials for beginners to kick-start their seascape photography adventure and capture mesmerizing images that will transport viewers to the shores.

1. Research and Scout Locations

The first essential step is to research and scout potential seascape locations. From dramatic cliffs to serene beaches, coastlines offer a myriad of possibilities. Look for spots that have interesting geological features, rock formations, piers, lighthouses, or any other elements that can add character to your images. Study tide charts to plan your shoots during low or high tide, as they can drastically change the look and feel of the scene. Take note of the sunrise and sunset directions to position yourself for optimal lighting conditions. The more you know about your chosen locations, the better prepared you’ll be to capture stunning seascapes.

2. Gear Up for the Challenge

Seascape photography comes with its own unique challenges, and having the right gear is essential. Invest in a sturdy tripod to keep your camera stable in windy conditions and ensure sharp images. A wide angle lens, such as a 16-35mm or 24-70mm, will allow you to capture the expansive beauty of the seascape. Consider using a polarizing filter to reduce glare and enhance colors, especially when photographing water or capturing reflections. Lastly, don’t forget lens cloths and protective gear to shield your equipment from the sea spray.

3. Master Long Exposures

Long-exposure photography is a fantastic technique for creating captivating seascapes. By using longer shutter speeds, you can capture the movement of water, creating a dreamy and ethereal effect. To achieve long exposures, set your camera to manual mode and use a small aperture (higher f-stop number) to limit the amount of light entering the camera. Attach a neutral density (ND) filter to reduce the amount of light further, allowing for longer exposures without overexposing the image. Experiment with different shutter speeds, from a few seconds to several minutes, and observe how the water transforms into a silky and serene surface.

4. Embrace Dynamic Lighting

Lighting is a crucial element in seascape photography. The interplay of light and shadow can add drama, depth, and dimension to your images. Be prepared to adapt to the ever-changing lighting conditions by visiting your chosen location at different times of the day. The soft golden light during sunrise and sunset can infuse your seascapes with warmth and create stunning silhouettes. Stormy and dramatic skies during cloudy or rainy weather can add a sense of mood and intensity to your images. Don’t shy away from challenging lighting situations; instead, embrace them as opportunities to capture unique and compelling seascapes.

5. Capture the Essence of Motion

Seascapes are inherently dynamic, with crashing waves, swirling tides, and the constant ebb and flow of the water. To truly capture the essence of motion in your images, experiment with different techniques. Use a faster shutter speed to freeze the action and capture the power and energy of breaking waves. Conversely, a slower shutter speed will allow you to convey the fluidity and movement of the water. Incorporate long exposure techniques mentioned earlier to create a sense of calm and tranquility in your seascapes. Play with different perspectives, angles, and compositions to capture the ever-changing nature of the sea.

Let’s Summarize

In conclusion, starting your seascape photography journey is an exciting opportunity to immerse yourself in the beauty of the coastlines and capture mesmerizing images. By researching and scouting locations, equipping yourself with the right gear, mastering long exposures, embracing dynamic lighting, and capturing the essence of motion, you’ll be well on your way to creating stunning seascapes.

Remember, practice makes perfect. The more you venture out to the shores, the more you’ll learn about the ever-changing nature of the sea and its photographic potential. Don’t be afraid to experiment, try different techniques, and develop your own unique style. Every seascape has its own story to tell, and it’s up to you to capture its essence through your lens.

Lastly, don’t forget to enjoy the process. Seascapes offer a sense of serenity and tranquility that can be incredibly therapeutic. Take the time to appreciate the beauty around you, listen to the soothing sound of the waves, and let yourself be inspired by the vastness of the ocean. Your passion for seascapes will shine through your images, inviting others to experience the captivating world you’ve captured.

So, gather your gear, research your locations, and set off on your seascape photography journey. Let the waves guide you, the light inspire you, and the beauty of the coastlines fill your frames. With the five essentials for beginners in mind, you’re well equipped to embark on an adventure that will not only expand your photographic skills but also deepen your connection with the captivating allure of the sea. Happy shooting, and may your seascapes transport viewers to the serene and enchanting world of the coastlines.

What are your thoughts on this topic? Let’s continue the conversation below.

As photographers wait nervously for artificially intelligent (AI) robots to replace them, an inherent quirk of the technology may actually be what saves them.

For programs like Midjourney and other AI image generators to produce good results they need quality source photos to begin with.

Recently I’ve been playing around with Photo AI, a program that claims to be the “world’s first AI photographer”. To build a model of someone, you have to feed the program photos of that person and I quickly realized the better the photos are; the better the results you get from Photo AI.

In a recent interview with PetaPixel, photographer Sophie Gammand talked about how she gave rescue dogs their ears back with the help of AI and she made clear that the pictures worked so much better when she used her own high-quality photographs.

“The photo needed to be clear and the angle easy to work with,” she explains. “When I used people’s own photos, I struggled a bit more than when I used my studio portraits.”

That’s because photos taken by lay people tend to be of far lower quality when compared to an accomplished photographer such as Gammand — something that people working on AI image generators must be aware of.

How Will AI Learn New Objects and New People Without Photographers?

Say someone wants to create AI images of their new product. Well, you need source photos. But what if that person doesn’t understand how to get a decent photo of their product in the first place? We all know someone who can’t take a photo to save their life.

Google recently launched a new product photography tool aimed at helping businesses to create their own high-quality images without the need for an “expensive” photographer. In the promotional material, it shows really clear photos for the AI to work with — perhaps ones, ironically, that were taken by a pro photographer. But will it work with terrible source photos taken by people who have no understanding of how to manipulate light, frame a photo, or even hold a camera still? I doubt it.

AI photos are dependent on real photos. The stunning images coming out of Midjourney that look like real photos exist only because there are already billions of amazing photos that look like that which the company used without the photographers’ permissions.

If people or clients or whoever want bespoke high-quality AI images that are unique, well first you need high-quality, unique photos.

Ultimately, there are things in the future that the AI will have no reference for. It will need a source and that source has to be a set of high-quality photographs taken by a trained photographer who knows what they are doing.

Personally, I see the AI and photography spaces overlapping with AI technicians relying on the work of photographers who can take high-quality images which can be used to train a model.

Better yet, photographers could become AI technicians (surely it’s not that different from photo editing work) creating more markets and economic opportunities for the talented men and women who have honed their camera skills. I certainly hope so.

It was only a few days ago that we wrote about Nikon’s latest viral campaign, giving voice to our very legitimate concerns about it and the images it showcased. After all, while the Nikon Anti-AI Campaign had an astounding concept behind it, it also seemed to show an astounding lack of respect for the creators whose images form the basis for the ad. The word seemed, is used specifically in the past tense, because we uncovered quite a fascinating side of this story.

Finding the Photographers

We managed to get in touch with the photographers showcased in this Nikon AI campaign, and we asked them the following questions. Did they get any notice from either Nikon or Grey Peru? Did they get any compensation? Did they notice any effect on downloads, sales, or following?

The answers we managed to get, while not surprising in the least, were more than a bit disappointing.

What they said

None of the photographers who wrote back to us had the smallest inkling beforehand that their photos were used in such a viral campaign, and the ones who found out about it found out through social media. One of the authors, John Fowler, didn’t even know about it until we messaged him.

Of course, the fact that they had no notice at all should give you an idea of whether they received compensation or not. I don’t need to elaborate, do I?

While some photographers say that exposure helps, none of the photographers interviewed reported an uptick in their statistics, their followers, or their downloads, which makes for another interesting observation; does anybody care about the person behind the photo? Or do they think the camera does it all by itself? Further, campaigns like this have been known to not have credible statistical payoffs — which is a major contrast to the interviews that we’ve done here on the site with photographers. Several have told us over the years all the different ways that being featured on our site has helped them.

And the photographers spoke for themselves

Here are quotes from the photographers to The Phoblographer.

John Fowler

John seemed to be okay with his photos being used.

Thanks for writing. I haven’t heard from anybody recently about my photos being used. And I haven’t noticed any increase in my download stats, but I hardly ever check. In addition to Flickr, I have photos at Unsplash. All my stuff is free, with attribution, and I am happy to let Nikon or anybody else use them. I encourage it.

Andrew Svk

Andrew was a bit sad about it but accepting of it.

Hello, sure, I will gladly answer your questions. Nope, and this was a bit sad that Nikon didn’t send me any notice, I randomly found out about it on Twitter. No compensation either, but it is fine, I do not make money from photography, and images on Unsplash are free with a commercial license. I don’t see much change in engagement, despite a few journalists, including you, have contacted me with some questions.

Marco Nürnberg

Marco was also surprised by it, but didn’t mind.

Hello, thank you so much for your message!

In fact, Nikon did not contact me in any way before using my image. So there is also no compensation. But that‘s ok, I published the image under Creative Commons license. I did not notice any effects on likes etc.

A friend of mine found a article about this campaign on a german tech website by chance and called me yesterday. I was really surprised! I really can not imagine how Nikon chose my pic out of millions of others.

I did not upload any images on Flickr for a long time. My 5 year old son brought me away from landscape photography 😉

The image itself was taken in summer of 2016. Definitely not during winter season like the underline suggests 😉

Best regards, Marco.

The Problems with The Nikon Anti-AI Campaign

Nikon is a company that works to support professional photographers, and by not paying or compensating photographers for the work provided, they’ve undercut the people they’ve worked to support the most. More importantly, the company has released the new Nikon z8 to aid these photographers. It’s a camera that should’ve come out a long time ago.

This isn’t the only time that Nikon has made questionable decisions. Back in 2017, they took center stage for sexism when they didn’t choose a single woman to promote their products. Before then, they made a questionable decision about a photo choice being manipulated by Photoshop. On top of all this, consider problems around their products like the D600 and the class action lawsuits over the cameras.

This is all just the beginning, though. The Nikon Anti-AI Campaign apparently came from Nikon Peru. Immediately, anyone that didn’t know any better would paint a blanket across all of Nikon. This is important to note, as the actions of one division can affect an entire company, and it did with Canon’s sexism issues previously. As a journalist, I know that the actions of Nikon Peru wouldn’t necessarily come from America. However, they’d be approved by Japan.

After giving them a week to fully answer, Nikon USA wouldn’t provide answers to our questions on the record. The only thing that we were able to get was “…there is no Nikon Peru, there is only individual retailers and distributors in the Latin America market.” We did some research to verify this.

Nikon Peru’s website is indeed real. And if you search Nikon’s website, it states that Nikon Peru is part of their larger global network. They are not listed as a Group Company on either Nikon’s website or in PDF files.

The way that Japanese camera companies work often requires them to have their subsidiaries report back to them, ask for permission on things, etc. It makes it a very difficult process to get things done — especially when talking to the press. In a situation like this, Nikon Peru is a distributor and should’ve reported to Nikon in some way or another.

So why does Nikon not have an official presence in South America? Well, it’s often very difficult to import products there. It’s exactly why B&H Photo has a specific department dedicated to Brazil.

For the record, Nikon’s lack of answering tough questions isn’t uncommon. As the years have gone on, Japanese manufacturers have been doing this more and more. With fewer publications around, not many of us are really trained to keep the industry in check or verify statements. So instead, YouTubers tend to amplify exactly what they’re told.

The weapon of the enemy

We’ve written in-depth —and we will continue to do so— about the problems posed by Artificial Intelligence and Large Language Models such as Midjourney and others, the main ones being its dependency on stolen images and the fact that it could mean a lack of work and income for human photographers.

We know that, by uploading pictures to Unsplash, you’re giving away the rights to your work. Maybe you knew about it, the way John Fowler did. Maybe you didn’t, because you were roped in a contest and couldn’t be bothered to go through the legalese. In that case, maybe it got you into legal trouble.

We also know that a small business owner using one of your free pictures as a hero image for their very local store is not at all comparable to a company such as Nikon using your picture in a campaign designed to go viral, which would undoubtedly give them not only a sizable rise in sales but also the goodwill of amateur and professional photographers needing support on their fight against generative AIs.

The photographers should’ve been, if not compensated, at least noticed before the Nikon Anti-AI Campaign was released. It’s only ethical.

There’s a comic doing the rounds on the Internet, a comic you might have seen. It shows Batman breaking a shotgun over his knee, yelling, “This is the weapon of the enemy. We don’t use it. We don’t need it.”

You don’t fight unethically sourced images by sourcing images unethically, Nikon. You just don’t.

Editor in Chief Chris Gampat provided extra reporting on this.

Photographers and creators have raised concerns over Adobe’s Firefly accusing the software giant of setting up competition against them without being paid for it.

In an interview with Venture Beat, photographer and Adobe Stock contributor Rob Dobi from Connecticut, who regularly documents abandoned buildings, say that his photos haven’t been selling as well recently and points the finger at Adobe’s new generative artificial intelligence (AI) tool Firefly.

“Someone can just type in a prompt now and recreate the images based off your hard work,” he says.

Dobi, who recently had his photos published in The New York Times, says that he saw a set of abandoned AI photos online that were generated with Firefly and was shocked to see how much they resembled his own work.

“I saw some AI artist saying, ‘Show me your urban exploration photos built through AI, I built these through Adobe Firefly’ and I looked at these photos and they could pass as my photos, I wouldn’t question whether they were real photos unless you looked really closely,” he tells Venture Beat.

“Someone using Firefly could easily put in a prompt with words like ‘mental asylum, symmetrical, natural light, peeling paint, textured walls, dirty floor,’ stuff like that’.”

Creators Believe That AI is Using Their Own Work Against Them

A U.K.-based digital artist by the name of Dean Samed tells Venture Beat that Adobe is “using our IP to create content that will compete with us in the marketplace.”

Samed doesn’t think that Adobe’s practices are “ethical or fair” despite the company legally being able to do so because “we all signed the terms of service.” He also says he received no notice that his work would be used to train an AI model

“I don’t recall receiving an email or notification that said things are changing, and that they would be updating the terms of service,” he says.

A legal expert in generative AI tells Venture Beat that he believes photographers and artists have very little wiggle room.

“You give Adobe a license for perpetuity, for whatever medium shall be invented,” says legal scholar Andres Guadamuz. “People don’t read those terms and conditions.”

Is the Rise of AI Coming at the Expense of Photographers?

For Dobi, he feels as if Adobe has turned its back on real creators.

“Adobe, which is supposed to be, I mean, I guess they thought they were looking out for creators, apparently aren’t because they’re stabbing all their creators that helped create their stock library in the back,” he says.

Earlier this month, PetaPixel reported on data showing that AI images on Adobe Stock, currently the only major stock website accepting AI image submissions from contributors, are performing better than real photos.

“[It’s] not a feasible platform for us to operate in anymore,” says Samed. Adding that the marketplace is “completely flooded and inundated with AI content.”

Adobe’s Response

Adobe insists that its goal is to build generative AI in a way that “enables creators to monetize their talents” and emphasizes that Firefly is still in beta.

“During this phase, we are actively engaging the community at large through direct conversations, online platforms like Discord and other channels, to ensure what we are building is informed and driven by the community,” an Adobe spokesperson tells Venture Beat. The company asserts that is “committed” to compensating creators.

Image credits: Header photo partly licensed via Depositphotos.