Photography

Kate Middleton’s edited Mother’s Day photo, explained by an expert

Kate Middleton’s edited Mother’s Day photo, explained by an expert

Over the past few days, we’ve all come to learn that the only thing more suspicious than a missing princess is a poorly edited photo of that princess. All the worse if it’s accompanied by a note allegedly written by the MIA monarch herself, saying she casually dabbles in Adobe Photoshop and got lost in the moment.

“Like many amateur photographers, I do occasionally experiment with editing,” Catherine “Kate” Middleton, a.k.a. the Princess of Wales, apparently wrote on social media Monday, personally apologizing for doctoring an official photo of herself with her children. The photo, posted for Mother’s Day in the UK, first drew attention from suspicious royal watchers online, whose doubts were confirmed when the AP issued a “photo kill” for the image, declaring it manipulated. “I wanted to express my apologies for any confusion the family photograph we shared yesterday caused.”

The photo, the apology, the cheeky opening line, the image of Kate fiddling around with layers and smudge tools on Photoshop — it’s enough to be a royal scandal on its own. Posting a photo that news outlets felt the need to kill — an occurrence that’s basically unheard of — felt like such a flub on the royal family’s part that it drew even more attention to the image.

But the thing is that Kate hasn’t been seen in public since reportedly undergoing abdominal surgery in January, and her disappearance from public view has created a massive conspiracy theory with speculations ranging from a more-serious-than-reported medical procedure to rumors about Prince William cheating to speculation about the succession plan and King Charles’s cancer diagnosis.

The photo of Kate and her kids was supposed to squash those rumors, but the poor editing has only drawn more attention to the situation and the idea that the royal family is covering something up.

What exactly is weird about the photo? What is the editing hiding? And aren’t there people who do this type of thing for the royal family?

In an attempt to find some clarity, I spoke with Adam Griffin, a Los Angeles-based professional photographer who has experience with retouching and capturing private events. We combed over the photograph and went through all of the flubs, from how strange Kate’s hair is to the wonky way shadows fall and patterns disappear, that make the image look like an amateur retouched it. And as Griffin points out, as strange and illogical as Kate’s apology is, it’s one of the only ways to make sense of this entire saga.

Our conversation has been lightly edited for clarity.

There’s a bit of a Streisand effect going on, right? Or at least an unforced error. If there was no photo, the story would be that it’s been a long time since Kate has been photographed or seen in public. But now there’s this botched photo and it seems like a coverup.

It is 100 percent a Streisand effect situation because posting a photo that was that egregiously Photoshopped? Amateur sleuths were able to point out all of the flaws in it, get it trending, and it made all the gossip magazines and websites. It almost would have been better not to do anything and say something like “The Princess of Wales is still recovering from surgery, she’s choosing to stay out of the spotlight until she’s feeling well. But she’s wishing everyone a Happy Mother’s Day.”

That could have been fine, or even post an old photo — a photo of her with the kids with a message like that, saying that she’s spending the day with her kids but she’s choosing to stay out of the public light. It was completely an unforced error.

Adam, you sent me a diagram — a marked-up version of the original photo, noting the things that stand out to you as retouching. Can you tell me what you’re seeing here?

Photographer Adam Griffin marked the major editing bungles in Kate Middleton’s official photo.
Kensington Palace/Adam Griffin

I wanted to do my own sleuthing. First off, that right hand [marked as A], for some reason, is out of focus and blurry. There’s no reason for that considering it’s a static photo. The only reason that a [real] photo would have any kind of blur to it would be if there was motion with a slower shutter speed, in which case something else would be blurred — it wouldn’t just be one hand.

Kate’s right hand should not be this blurry!
Kensington Palace/Adam Griffin

Or it was something that was retouched and done poorly. One of the hallmarks of event photography is that you’re always capturing movement. There’s ways to capture movement at a certain shutter speed and above where you’re not going to have a hand moving that looks like that. It looks like she’s stroking Prince Louis’s side, but she’s clearly not doing that because she’s completely immobile everywhere else.

It’s also weird because everyone’s just sitting down and sitting still.

Everybody else is sitting down, nothing else is out of focus. Prince Louis is not out of focus, there’s nothing about his sweater that is showing the same kind of blurry movement. It’s just that area right around her hand, like the hand was put there.

If you go to B, that was the one that everybody picked up on right away. Princess Charlotte’s sweater — there’s a chunk of it missing. It’s clearly been clone-stamped to restitch that area where the Princess of Wales is holding on to her. Obviously, you also notice that Kate’s not wearing her wedding ring — and it’s a very noticeable wedding ring.

The triangle of space between Charlotte’s arm and her torso is extremely distorted!
Kensington Palace/Adam Griffin

We all know the story of Princess Diana getting it, so for her wedding hand to be missing a giant sapphire ring, [that] itself would have been very weird. But the fact that it’s coupled with all the weird Photoshop retouching, it sent me down a rabbit hole again, even just trying to figure out if that was really her hand or somebody else that the kids were posing with.

Princess Charlotte’s wrist looks a bit weird, like it’s almost a little broken from all the photo manipulation happening.

You can see that there’s something else in the background. It’s not her tights. It almost looks like it’s the sleeve of the sweater that Kate is wearing with something else directly underneath it. There’s something else directly in that kind of triangle of space, and that’s also where a chunk of Charlotte’s sweater is missing. It just makes no sense.

Like I said, it did send me on a deep dive on the Princess of Wales’s hand just to make sure. It does look like it is her hand. So whatever weird Photoshop manipulation they did, I don’t think it’s a body double.

It’s weird that one hand — a hand that appears to be Kate’s real hand — is completely in focus but the other one isn’t. How does that happen?

One thing that I keep coming back to, because of how weirdly everybody’s transplanted into the photo, is that I think it seems like Kate’s in the photo with all three kids, but that it’s possible she’s not actually holding them. Her hands could have been Photoshopped in to make it seem like she was, and it’s more likely that the hand part is from something else.

The way that I’m constructing the photo in my head, and obviously this is unverified because I wasn’t there, it seems like they took an opportunity to take a photo to dispel the rumors surrounding Kate.

But maybe it wasn’t a flattering photo, and because she’s still recovering, she might not have actually been able to pose with the kids other than sitting in a chair and they tried to make it be more warm and comforting.

And maybe they put her hands around the kids and put a better “face” on Kate. I do think four people sat for this photo, in this location, wherever this is, outside. But it seems like everything about Kate other than her legs and what she’s wearing is Photoshopped in.

There’s a whole separate TikTok rumor that this is an old photo that got re-transplanted. But if you look at all of the ways the kids are sitting on the chair, and all the shadows under their feet and the way that their bodies are in a grouping, it all looks very natural, the shadows look very natural, that’s very hard to contrive to just place a subject into a new setting.

It almost sounds like a mystery. Four people sat for the photo, but something’s off and Kate and her face seems like … uncanny valley or something?

There’s something strange going on with Kate’s hair in C, and similarly, the texture of Charlotte’s sweater and hair changes in E. The zipper on Kate’s jacked is misaligned in D.
Kensington Palace/Adam Griffin

C, D, and E are all the reasons this is not the face from the [actual] photo — it’s from a different photo of her, maybe an older one. Because her hair in C is extremely blurry and has no drop shadow behind it. For how close it is to George’s arm, it should have a much deeper shadow directly behind her hair.

Also, Kate Middleton has better hair than whatever is happening in this photo!

Much better! One of the qualities that we know about Kate is that she’s this very beautiful girl-next-door, natural-looking person. She has great hair.

One of the tells that Kate Middleton is pregnant is that her hair changes! This woman pays a lot of attention to how her hair looks at all times. It’s always perfect, and in the parts you’ve circled, it’s looking off.

Her hair is very strange there. And then if you go down to D, you can zoom in on it, you can see that the zipper of her jacket is misaligned. If you follow the line of her zipper all the way down to below where George’s hands are wrapped around her, it’s obviously a stitch of like how they put her head onto her neck.

And then E, the same thing: Something’s going on with Charlotte’s hair. It’s been erased. It’s just chopped off right there as it overlays with Kate’s hair and it makes no sense. You can even see the texture of the sweater, the edge of the red sweater that Charlotte’s wearing, it’s very blurry.

The texture of her sweater in E looks completely different. That print just stops.

It just stopped because they weren’t able to replicate it. Somebody very amateur was clone stamping [a Photoshop tool that copies one set of pixels and allows you to place them into another area] and heal tooling [a Photoshop tool that allows users to fix small imperfections] all the way up the arm to try to stitch in Charlotte superimposed on Kate. Like I said, it’s what makes me think that all these people posed for the photo or some iteration of this photo, but it wasn’t all four people posing exactly in this manner.

Can we talk about F? Louis’s sweater looks blurry and disjointed. It’s like what’s happening with Charlotte’s sweater. It doesn’t really make sense that the print would be that distorted.

The print of Louis’s sweater in F is distorted. Weird!
Kensington Palace/Adam Griffin

Look at the prints and the beige parts [of Louis’s sweater], notice how there’s one single vertical line that runs through those kinds of curlicue heart shapes. There’s also two vertical strokes, and where the horizontal stroke moves through it, it’s not on the same level — it forms this weird extra shape that shouldn’t be there.

If you look at [Louis’s] opposite sleeve, it’s the exact same pattern. There’s no weird misalignment on the sleeve closest to George. And then moving down to G, this is like where it’s really noticeably Photoshopped. There’s something when they superimpose this portion of Louis that that circled area of the concrete slab that passes on has like a bump in it that shouldn’t be there. The white area of the doorframe or the wall is clearly not stitched in correctly because it’s not aligned.

Then the tile right next to Louis’s right foot has clearly been Photoshopped because you can see the duplicate of the tile.

It looks like someone tried to duplicate the tile near Louis’s foot. Look at how it repeats, but the texture and color is all distorted.
Kensington Palace/Adam Griffin

The last thing I would say is if you were to zoom in really closely to everybody’s eyes, you can see that the catch light is in the same place on everybody’s eyes, but the one on Kate’s is slightly different. The one on Kate seems extremely crisp and small.

You mean where the light is hitting her in her eyeball?

Kate’s eyes in the photo are crisper and clearer than her children’s, which is a strange phenomenon to happen if they were all sitting there at the same time for the same photo.
Kensington Palace/Adam Griffin

A catch light in somebody’s eye is that spot of white that makes it look like there’s a light in somebody’s eye. Photographers are very intentional with both daylight and artificial studio light with making sure that there is a natural-looking catch light. Kate’s catch light is very nice and very natural looking, but it doesn’t look like it’s the same shape or the same size as the kids. It makes me wonder if the whole face was Photoshopped in and or just her eyes are Photoshopped in.

Her eyes also look much crisper than George’s and everybody else’s. George’s you can’t even see, like there’s a lack of depth. Hers are very crystal clear, almost kind of creepy compared to her kids where the light is there, but it’s just less focused.

Right, and even if you were to go side to side and look at Charlotte’s eyes and then Louis’s eyes, you can see that there is a difference in the catch light. It creates this weird anomaly where it’s almost like all of them were photographed in the exact same spot and then stitched into one photo. But there are some noticeably missing shadows from some spots where you would assume if they were posing together, like Louis’s left arm holding on to the chair.

It could be that this is some kind of iteration of the actual photo — like maybe they took 12 different photos. Some had the kids all together, some didn’t. And maybe they just started grabbing elements. I don’t know. But whoever Photoshopped it did a very poor job.

I want to ask you about that. You’re an event photographer and retouching is part of your job. Regular people’s wedding photos are edited and retouched. This kind of bungle, hack job, mistake — whatever you want to call it — is almost unheard of when it comes to a celebrity releasing their own photos.

It is absurd on its face for the Princess of Wales, with the annual budgets that they have from the government and from all of their personal wealth, that she has to be Photoshopping her own photos for an official release on the Kensington Palace account.

The only reason I could think of that would back up what Kate was saying in that statement — that she’s the one who was messing around and editing it herself — is if they didn’t want to risk the chance of somebody else having access to the original photo and they didn’t want to go through the labor of an NDA and then possibly having it be leaked anyway because of all of the brouhaha with her being “missing.”

Just to spell it out, a possible absurd reason why these people didn’t use their loads of money, their photographers, and their endless amount of resources is that they didn’t want to risk an original photo of Kate getting leaked.

To release a photo that’s retouched like this, so poorly, wouldn’t really make sense to me as a professional photographer, unless they didn’t want somebody else to have access to the photos.

You would think that the royal family would have vetted the person that they would hire to do something like that and that they would have a shortlist of photographers and editors and contractors for hire that have signed NDAs that they have a long-standing relationship with.

That’s kind of like what Queen Elizabeth was known for. She had the same photographers at Windsor, she had the same photographers at Buckingham Palace, like when she was on tour and anywhere in her professional schedule. She had the same photographers she always worked with because they gave consistent results and let her have things to release to the public without having to go through the rigmarole of finding a new person and vetting them.

Well, like any celebrity who releases any photo has a team that’s taking and retouching photos for them and has those people signing NDAs. We would have so many more unflattering photos of celebrities if celebs weren’t strict about the people in charge of Photoshopping their photos.

From personal experience, I have done private events, and had to sign an NDA for where the photos don’t see the light of day. I’m not allowed to release any of them to the public. They got edited by me and sent directly by me to the client, along with the raw files in case they wanted to do their own editing later on. And I had to sign my life away, under penalty and multiple things.

Like there’s no way that Tree Paine is letting un-Photoshopped photos of Taylor Swift out into the world that are not approved. There’s not just random personal photos of Travis Kelce and Taylor Swift floating around.

You would imagine that the Princess of Wales, the soon-to-be queen, would have the same resources if not better, and have people at her disposal who have signed NDAs.

You know, Kate had abdominal surgery, and potentially a more significant surgery than they’re reporting. And I would imagine her recovery has been rough. There’s so many reasons why she would possibly look unflattering post-op. So I’m not surprised that they don’t want to show the original. But it might be such an unflattering original that they were willing to risk going the amateur route for releasing this image. But that they hired an amateur and paid them money for this? That is the most illogical explanation to me.

Maybe it was pro bono. Maybe they were trying to save money! You just want to believe that they’re much more competent than what actually happened.

I think that is kind of why it is fueling the rumors that much more because of all the people to have a flub like this, you would think it wouldn’t be the next in line to the royal throne. They have all the resources at their disposal and they don’t make missteps like that.

We’ve talked about the Streisand effect. How much harder is it going to be for Kate now? How much more scrutiny is the royal family going to be under because of this photo?

I think, short of Kate coming out and being seen actively in public life again — being photographed at a normal press event or being caught on video — it’s just throwing gasoline onto the fire. I’m sure it’ll die down eventually once it seems like everything is back to the status quo, but until then everyone’s going to be going over every photo coming from the royal family with a fine-tooth comb.

Spotlight: A New Exhibition Looks Back at Gordon Parks’s Seminal Photography

Spotlight: A New Exhibition Looks Back at Gordon Parks’s Seminal Photography

Every month, hundreds of galleries add newly available works by thousands of artists to the Artnet Gallery Network—and every week, we shine a spotlight on one artist or exhibition you should know. Check out what we have in store, and inquire for more with one simple click.

What You Need to Know: Curated in collaboration with the Gordon Parks Foundation, Jack Shainman Gallery in downtown New York is presenting “Gordon Parks: Born Black,” on view through April 20, 2024. Using Parks’s 1971 book Gordon Parks: Born Black, A Personal Report on the Decade of Black Revolt 1960–1970 as a starting point, the exhibition focuses on the publication’s core themes, offering expanded insight and understanding of both the photographer’s ideas and writing as well as body of work.

Speaking of the occasion, the Gordon Parks Foundation Executive Director said that the exhibition “is a deep dive into Gordon’s documentation of the Civil Rights and Black Power Movements and coincides with the release of the expanded edition of Gordon Parks: Born Black published by Steidl and the Gordon Parks Foundation. Gordon’s original book published in 1971 was the first book to unite Gordon’s writing and photographs. Parks’s images and words are accompanied by new essays from critics Nicole Fleetwood and Jelani Cobb.”

a black and white photograph depicting two Black men dressed in suits with two small children, also wearing dress pants and shirts.

Gordon Parks, Untitled (1963). Courtesy of Jack Shainman Gallery, New York.

About the Artist: Widely known and recognized for his work in documentary photojournalism, American photographer, writer, and filmmaker Gordon Parks (1912–2006) was self-taught, and was initially inspired by the images produced by the Farm Security Administration in the 1930s to pursue photography. Originally from Fort Scott, Kansas, he spent his early career working as a fashion photographer in midwestern cities like Minneapolis and Chicago, ultimately working for Vogue in 1944 and Life in 1948—where he continued to work until 1970. During this period, Parks produced some of his most influential photo essays, documenting moments from the Civil Rights Movement, as well as facets of everyday life in cities and towns across the country.

Gordon Parks, Untitled, Harlem, New York (1948). Courtesy of Jack Shainman Gallery, New York.

His work frequently engaged with themes of race relations, poverty, and politics, making his career one of the most notable of the 20th century. He was also a pioneer within the film industry, being one of the first Black men to direct films within the predominantly white Hollywood movie system. He was awarded the Congress of Racial Equality Lifetime Achievement Award in 2000 and has been bestowed with more than 20 honorary doctorates from various institutions. In 1995, his archive was acquired by the Library of Congress in Washington, D.C., solidifying both his and his work’s legacy for future generations.

Gordon Parks, Untitled, Anacostia, D.C. (1942). Courtesy of Jack Shainman Gallery, New York.

Why We Like It: The breadth and importance of Parks’s oeuvre cannot be understated. His images of Black life in America—including of seminal figures from Malcolm X to Muhammad Ali—have helped shape not only perceptions but understandings of 20th century realities. The present exhibition at Jack Shainman Gallery in conjunction with the publishing of an extended edition of Parks’s book offers a chance to reconsider his work within a contemporary context.

Parks’s practice is particularly unique in that he worked within the realms of both the mainstream and the radical, which speaks to his deep understanding of humanness; in a world of myriad intersections, Parks’s images bridge the individual with the collective, urban with rural, and provides a singular perspective on history and modern day. Featuring examples of some of his best-known works as well as lesser known and exhibited works, Born Black, allowing for new juxtapositions and dialogues to emerge and create another way of approaching history.

Gordon Parks, Untitled, Harlem, New York (1963). © The Gordon Parks Foundation. Courtesy of Jack Shainman Gallery, New York.

Gordon Parks: Born Black” is on view at Jack Shainman Gallery, New York, through April 20, 2024.

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NH Photographer Offers Complimentary Session to Law Enforcement Officers

NH Photographer Offers Complimentary Session to Law Enforcement Officers

Shayla Ashley is a photographer right here in New Hampshire. She started an awesome program called “The Human Behind the Badge” in 2021, and wants to bring it back this year! She is offering a free mini photoshoot session for any law enforcement officers and their families.

She takes one photo of them in uniform beside their family.

Shayla Ashley

Shayla Ashley

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Then she takes another photo of them in street clothes next to their family.

Shayla Ashley Photography

Shayla Ashley Photography

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This program is all about showing that law enforcement officers are human beings just like the rest of us. You could walk past someone in a store and never know they are a police officer! But the minute they put on their uniform, some people look at them and treat them differently. This program is to showcase their humanness. They have families to go home to, and have one of the toughest jobs there is.

Shayla has a personal connection to this project, as she grew up in a law enforcement home. Her dad and both grandfathers were police officers. Now, her brother has followed in their footsteps too! She is blessed to have been surrounded by these incredible men her whole life, and to bridge the gap between the general public and those who wear the badge is a cause near and dear to her heart.

She is going to offer these sessions for two days this spring/summer, May 18 and June 1. Its first come first serve. If you or anyone you know would be interested, message her on Instagram or Facebook.

Tie the Knot at These 14 Wedding Venues in New Hampshire

Gallery Credit: Megan

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The increasing popularity – and value

The increasing popularity – and value

The word “emerging” suggests a creative to look out for, generally someone who is young and showing signs of promise.

Olympus by Nicholas Gioia

Olympus by Nicholas GioiaCredit: Nicholas Gioia

However, in the case of Nicholas Gioia, an architect who has been focusing his practice on photography for the last 15 years, it’s been a slow burn with solo exhibitions in both Melbourne where he resides, and a couple of exhibitions in Turin, Italy.

And although Gioia sees himself as “emerging”, he recently turned 70.

“My transition into photography started by taking images on my Nokia phone of the many things I was drawn to on my walks whether it was certain gutters edging pavements or even the strange and bizarre, like an air conditioning unit awkwardly strung across a clothesline,” says Gioia.

An industrial site in Brunswick photographed at 7am on a Sunday morning presented quite a surrealist image, not dissimilar to a painting by artist Jeffrey Smart (hence this photograph is loosely referred to as ‘Jeff’).

Other photos have been taken in Turin. The Lingotto factory, for example, built after the First World War, features a ribbed concrete elliptical-shaped ramp. This photograph appears as an abstract form as do many of Gioia’s other images – including a pair of fleshy white hands appearing from a ceramic vessel. “Some of the things that attract my eye are quite mundane,” says Gioia, picking up an image taken in Turin of a concrete detail on the edge of a building.

“It looks like someone gasping with an open mouth. You could read the shape of the aperture as someone experiencing horror as much as someone completely elated or surprised,” he adds.

With 15 years of experience, Gioia’s photographs are still affordable, starting at $450 (includes GST) for the smaller works and up to $1800 for the larger images (unframed). Many works are purchased at exhibitions while others are sold by word-of-mouth.

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And while Gioia sees certain things in his photographs, he prefers viewers to interpret them in their own way. “I’ve always been drawn to the visual arts, whether it’s painting or architecture. With architecture, you are continually looking at things and experiencing a space in different ways”.

Triremes by Nicholas Gioia.

Triremes by Nicholas Gioia.Credit: Nicholas Gioia

Architect Jacqui Wagner, manager of Gallery Atelier Wagner in North Fitzroy, will be hosting Gioia’s exhibition in March 2024.

“Nicholas has a certain way of looking at things in the world, transforming sometimes quite banal details into beautiful abstract forms. It’s not dissimilar to reading a novel and being taken out of your normal mental space. These photographs are also a portal into someone else’s world,” adds Wagner.

Arc One Gallery in Melbourne represents a number of significant photographers, including Pat Brassington, Murray Fredericks and Lydia Wegner, who are seen as artists in their own right.

Works by Pat Brassington sell for between $8,000 and $18,000, with one of her major pieces selling for $90,000. While some would gasp at this price, photography is becoming a more valuable art form.

“I generally look for something that doesn’t look like photography. Irrespective of the art form, I am looking for work that will resonate today as much as it will in decades to come,” says Arc One Gallery owner and director, Fran Clark.

“It’s certainly not about a fashion or a look. You need to feel completely drawn into the subject and the way it’s conveyed. With Brassington’s work, it’s surrealistic. It intrigues you and beckons curiosity,” she says.

While his photographs don’t sell for the prices of a Brassington or a Fredericks, those wanting to start a photographic collection may be interested to look at emerging photographers such as Gioia, with 15 years behind a lens and gaining a reputation, even at the age of 70.

  • Advice given in this article is general in nature and is not intended to influence readers’ decisions about investing or financial products. They should always seek their own professional advice that takes into account their own personal circumstances before making any financial decisions.
Stephen Crafti is a specialist in contemporary design, including architecture, furniture, fashion and decorative arts.

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Grab big savings from this week’s top photography gear deals!

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Evansville photographers young and old to showcase their work

Evansville photographers young and old to showcase their work

EVANSVILLE

— The meet-and-greet to kick off Evansville’s annual spring photography exhibit will take place 10 a.m.-2 p.m. on Saturday, March 16 at the Evansville Art Center.

Photographers who will be on hand to meet visitors and discuss their work include 15 Evansville Photo Club members and many 4th grade students from the Brandon-Evansville School District.

Photo club members have been working with students in Tina Bosma’s and Brian Perleberg’s classes, teaching them aspects of photography. Students used cameras donated to the school by the photo club with the help of a grant. The photo club members own work will be displayed, as will the best selections of each student’s work.

The public is invited to attend the kick-off reception, and refreshments will be available.

The exhibit will run through April 27.

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Evansville Art Center, at 111 Main St. in Evansville, is wheelchair accessible.

The exhibit is partly funded with money from the state Arts and Cultural Heritage fund.

Our newsroom occasionally reports stories under a byline of “staff.” Often, the “staff” byline is used when rewriting basic news briefs that originate from official sources, such as a city press release about a road closure, and which require little or no reporting. At times, this byline is used when a news story includes numerous authors or when the story is formed by aggregating previously reported news from various sources. If outside sources are used, it is noted within the story.

Is the Sony A9 III hype real? Try it yourself at The Photography & Video Show

Is the Sony A9 III hype real? Try it yourself at The Photography & Video Show

“The most remarkable camera I’ve ever used.” That’s what I said in my Sony A9 III review last year. “Photography has just changed forever.”

Those are bold words – and I’m not the only one who has gushed and gabbled about Sony‘s remarkable new sports camera. But don’t take my word for it – if you want to see if all the hype and hyperbole is justified, you’ll be able to judge for yourself this weekend at The Photography & Video Show.

The A9 III will be a featured camera on Sony’s stand at the show, taking place from Saturday March 16 to Tuesday March 19 at the NEC in Birmingham, England

Make your way to stand E699, E600 and chat to one of Sony’s experts or ambassadors, and you’ll be able to see the A9 III in person – and ask all the questions you might have. 

Are global shutter sensors the future of all cameras? Does the more restrained ISO sensitivity make any difference in real-world shooting? What does it mean for video performance? How does the new autofocus system with dedicated AI processor work? How long can you shoot 120fps bursts for? 

In addition to the A9 III, you’ll also find the brand new Sony FE 300mm f/2.8 GM OSS on the company’s stand as well. 

It’s an essential lens for professional and serious sports shooters, and it might just be the most remarkable 300mm f/2.8 ever. It’s certainly the world’s lightest, at only 1,460g and measuring just 265mm in length. It makes a perfect tag team partner for the A9 III, and I loved shooting with that combo when I tested them in November – again, see the lens for yourself and make up your own mind.

The Photography & Video Show is celebrating its 10th year, and over 200 of the biggest and best brands in the business will be there including Canon, Nikon, Fujifilm, Panasonic, Sigma, Adobe, Epson, Eizo, Godox, Ilford, Insta360, Irix, Joby, Laowa, Lowepro, Peak Design, Rotolight and more.

Click the link below to get your ticket to the show, kicking off this weekend from March 16-19 at the NEC in Birmingham

Sony FE 300mm f/2.8 GM OSS mounted to a Sony A9 III on an Olympic ping pong table

(Image credit: James Artaius)

You might be interested in the best Sony cameras, along with the best Sony lenses to use with them. 

Photographer Wins Copyright Lawsuit After Website Used His Creative Commons Image

Photographer Wins Copyright Lawsuit After Website Used His Creative Commons Image
Photographer Larry Philpot’s image of Ted Nugent (left) and Independent Journal Review’s usage of the photo (right) without the proper credit to the photographer.

A photographer has emerged victorious after suing a website for using his Creative Commons image without the proper credit.

In 2016, news website Independent Journal Review posted concert photographer Larry Philpot’s image of musician Ted Nugent in an article.

Philpot had registered the 2013 photograph of Nugent with the U.S. Copyright Office as part of unpublished works.

He had also published the photo on Wikimedia Commons under a “Creative Commons” license that specified anyone could use the photo for free as long as they provided attribution to the photographer.

Independent Journal Review published Philpot’s creative commons photo of Nugent in an article titled “15 Signs Your Daddy was a Conservative” under the fifth sign which was that “He hearts ‘The Nuge’.”

A Creative Commons Image Used Without The Proper Credit

However, Independent Journal Review’s article did not include Philpot’s required attribution for the Creative Commons image — meaning its use was outside the scope of the free-to-use license.

Instead, the news website hyperlinked to Nugent’s Wikipedia page, where the photo was featured.

Philpot filed his copyright infringement lawsuit against the Independent Journal Review four years later in May 2020.

In this initial lawsuit, a federal judge ruled in favor of Independent Journal Review and argued that the news website’s use of Philpot’s photograph was transformative fair use due to the new context created by the article.

How a Photographer Reversed a Fair Use Ruling

However, last month, the concert photographer convinced the U.S. Court of Appeals for the Fourth Circuit to reverse the ruling.

And on February 6, the U.S. Court of Appeals for the Fourth Circuit ruled that Independent Journal Review’s use of Philpot’s Creative Commons photograph of musician Ted Nugent did not constitute fair use.

The Fourth Circuit found that the federal judge’s previous ruling that Independent Journal Review’s usage was “transformative fair use” had been undercut by the the U.S. Supreme Court’s recent ruling on The Andy Warhol Foundation v. Lynn Goldsmith case.

The court cited how last year, America’s highest court found that “[a] typical use of a celebrity photograph is to accompany stories about the celebrity” and, where the purpose of the work is to illustrate the story about the celebrity, the use of the photograph is not transformative use.

“Because IJR’s use of the Photo did not add new purpose or meaning, and only minimal alteration, the use was not transformative,” the Fourth Circuit writes.

The Fourth Circuit also found that the nature of the copyrighted work was “creative,” due to Philpot’s “several creative choices” when taking the photograph of Nugent, weighing against fair use.

The court also found that widespread actions such as those of Independent Journal Review in this case could cause “cognizable market harm.”

In determining whether the use of the photograph was commercial or for nonprofit educational purposes, the Fourth Circuit also looked to whether Independent Journal Review “stood to profit.”

While Independent Journal Review does not charge readers to view its articles, it obtains revenue from advertising based on views of the photo. The news website earned only $2 or $3 in ad revenue for the article with Philpot’s photo of Nugent.

But, nonetheless, the Fourth Circuit found that Independent Journal Review’s profited from the image and therefore its use of the photographer’s image was commercial.

Andy Warhol Ruling Has Changed The Meaning of Fair Use

Philpot’s victory reveals how there could be an increasingly strict interpretation of fair use by the U.S. court in a post-Warhol ruling world.

Earlier this year, following the Supreme Court’s ruling on Warhol v Goldsmith, photographer Jeff Sedlik was finally granted a jury trial against celebrity tattoo artist Kat Von D went on trial — after he claimed that an image of a Miles Davis tattoo she inked on a client infringed his copyright.

However, Von D went on to score a resounding victory in the copyright infringement trial over the tattoo.


 
Image credits: Header photo via court documents.

CNN reviewing all images from Kensington Palace in wake of doctored photograph row

CNN reviewing all images from Kensington Palace in wake of doctored photograph row

CNN is reviewing all photographs handed out by Kensington Palace after the Princess of Wales admitted editing a family portrait.

The American broadcaster said the picture of the Princess and her three children had been distributed for editorial purposes and that media organisations “expect those images to be accurate”.

The photograph was recalled by four of the world’s biggest picture agencies over fears it had been “manipulated”.

The Princess then admitted editing the image after several inconsistencies were identified. She said that as an amateur photographer, she “occasionally experimented” and apologised for any confusion it had caused.

An analysis of the furore published online by CNN said that, like most news organisations, they “regard it as unacceptable to move, change or manipulate the pixels of an image” as it would alter the reality of the situation the image is intended to document.

“CNN is now reviewing all handout photos previously provided by Kensington Palace,” it added.

A decision about any action will be taken when the investigation has concluded.

‘Multiple images merged’

The digital fingerprint of the Princess’s photograph, released to mark Mother’s Day, suggests that she merged multiple images using Photoshop.

Analysis of data embedded in the image indicates that a copy and paste function was used.

Until this week, no such accusations have led professional photography agencies to raise questions about a Kensington Palace-issued image.

But the growing use of artificial intelligence has prompted agencies to update their policies so that manipulated images are not distributed.

The British Press Photographers’ Association (BPPA) applauded the “swift and decisive” actions of the agencies that “killed” the Princess’s picture on Sunday evening, warning that public trust was paramount.

Jamie Lorriman, chairman of the BPPA, acknowledged that while there might not have been anything sinister behind the Princess’s actions, the furore had highlighted a much broader issue.

“The edits she made may well be inconsequential but it has highlighted a bigger problem,” he said.

“These family moments used to be photographed by professional photographers and I hope we can get back to that.

“As press photographers, we have standards we have to adhere to. But as governments and royals increasingly insist on taking their own images, we are put in a position where we are simply handed a picture and told to trust the source.

“We should be independent rather than being spoon fed and when the subject is the one controlling the image this is even more concerning.”

LA photographer arrested, police appeal for victims to come forward

LA photographer arrested, police appeal for victims to come forward
LA photographer arrested, police appeal for victims to come forward

A Hollywood photographer and acting coach was arrested this week on suspicion of sexual assault. Authorities believe that this isn’t an isolated incident, and police are appealing for more victims to come forward.

Celebrity photographer Kenneth Howard Dolin was arrested after he was accused of assaulting a 29-year-old in his home studio. Dolin was 64 allegedly at the time.

According to NBC Los Angeles, there were already two other sexual assault accusations against Dolin dating back to 2017. While these two were separate incidents, police believe there could be many more victims and are urging women to come forward.

The police report that all three incidents began in a similar nature, with a one-to-one coaching session or photoshoot turning into unwanted and inappropriate touching. The most recent arrest is for “penetration with a foreign object.” Dolin is apparently a well-established photographer in the entertainment industry and often finds models online.

“There’s a huge difference between art photography and sexual assault. We want to make sure we know everything that happened and make sure that line does not get crossed again,” says Detective Brent Hopkins in a statement.

A photograph of the suspect has been released to identify and speak with those victims. Dolin has since been released from custody, “pending further investigation,” according to the police.

People who wish to come forward should contact Officer Richard Podkowski, Special Assault Section, at 213-473-0447. During non-business hours or on weekends, calls should be directed to 1-877-LAPD-24-7 (1-877-527-3247). Anyone wishing to remain anonymous should call the L.A. Regional Crime Stoppers at 1-800-222-TIPS (800-222-8477) or go directly to www.lacrimestoppers.org. Lastly, tipsters may also download the “P3 Tips” mobile application and select the L.A. Regional Crime Stoppers as their local program.

[via petapixel]