It was a very nice, inspiring and friendly conference in Antibes with CEPIC (Center of the Picture Industry), who had asked me to explain how the EU Copyright Directive 2019/790 has been implemented in Germany, with regard to photographers’ and image rights
On December 15, 2022, following a three-day trial, a jury in the U.S. District Court for the Central District of California returned a verdict of $1.175 million in damages in favor of a photographer represented by The Law Firm of Higbee & Associates.
When the company Open AI launched their new and paid version of the AI-tool DALLE-2, something also happened with their licensing terms. In this short post we explain, why we love new advances in text-to-image generation technology, but why we also encourage you to be careful, if you plan to use any of these images for commercial purposes.
Fake media has been making frequent headlines. The battlefield is fairly broad. Readers wanting to get familiar with the subject are faced with numerous initiatives started by publishers, news media, and technology companies. Janos Farkas, CEO of Clink Media, sheds some light on these different initiatives.
The Court of Justice of the European Union (the CJEU) has handed down the latest judgment in a long-running case concerning the online framing of copyright material. Kate Allen of Swanturton tells us more on the implications of the case.
On wednesday 16th December, CEPIC organised a webinar on extended collective licensing.
Many photographers who have entered the stock photo business in the last 5 to 10 years have trouble understanding why photographers who have been producing stock photos since the 1980s and 1990s are so unhappy with how the business had declined. I’d like to provide a little historical perspective.
On September 10th CEPIC is organising a webinar to look at the implementation of the two most critical and controversial articles of the EU Copyright Directive: Article 15 (publishers’ right) and Article 17 (creative content distributed by online platforms). Where are we now one year after and why should creatives care?
After introducing a series of features for their members during the COVID-19 pandemic and a weekly donation of 5% from all sales to the WHO’s Solidarity Response Fund in March, Dreamstime is now taking corporate responsibility further and adds a relief stimulus for its contributors.
The third survey of the German Picture market has now been published. It took place in February 2020, immediately before the considerable changes in public life in Germany due to the Covid 19 pandemic. For the first time, photographers* as well as picture agencies took part in this annual survey.
