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	<title>Comments on: Fair use and art as interpretation</title>
	<atom:link href="http://theaestheticelevator.com/2009/02/05/fair-use-and-art-as-interpretation/feed/" rel="self" type="application/rss+xml" />
	<link>http://theaestheticelevator.com/2009/02/05/fair-use-and-art-as-interpretation/</link>
	<description>For a well-considered visual environment</description>
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		<title>By: pNielsen</title>
		<link>http://theaestheticelevator.com/2009/02/05/fair-use-and-art-as-interpretation/#comment-13061</link>
		<dc:creator><![CDATA[pNielsen]]></dc:creator>
		<pubDate>Mon, 16 Feb 2009 15:06:07 +0000</pubDate>
		<guid isPermaLink="false">http://theaestheticelevator.com/?p=2069#comment-13061</guid>
		<description><![CDATA[Thanks for the link Lloyd. 

I can&#039;t make a comparison to the case you&#039;ve cited though since there are no images attached to the link. However, it&#039;s not just a matter of posterization and color change in Shepard&#039;s image, where the background and composition are significantly different than photograph. The angle of the face, the position within the frame (thereby showing more of the tie and allowing space to add a button) are significantly different. 

Further, how many other images out there could be so similar to the AP photo? Frankly, it&#039;s not the most unique composition, and thousands of photographs are taken of candidates on the campaign trail.]]></description>
		<content:encoded><![CDATA[<p>Thanks for the link Lloyd. </p>
<p>I can&#8217;t make a comparison to the case you&#8217;ve cited though since there are no images attached to the link. However, it&#8217;s not just a matter of posterization and color change in Shepard&#8217;s image, where the background and composition are significantly different than photograph. The angle of the face, the position within the frame (thereby showing more of the tie and allowing space to add a button) are significantly different. </p>
<p>Further, how many other images out there could be so similar to the AP photo? Frankly, it&#8217;s not the most unique composition, and thousands of photographs are taken of candidates on the campaign trail.</p>
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		<title>By: Lloyd Shugart</title>
		<link>http://theaestheticelevator.com/2009/02/05/fair-use-and-art-as-interpretation/#comment-13060</link>
		<dc:creator><![CDATA[Lloyd Shugart]]></dc:creator>
		<pubDate>Mon, 16 Feb 2009 04:17:16 +0000</pubDate>
		<guid isPermaLink="false">http://theaestheticelevator.com/?p=2069#comment-13060</guid>
		<description><![CDATA[We must answer the following riddle: When is a photograph no longer a photograph?

Nevertheless, our task of interpretation is reduced substantially, because the parties agree, to some extent.

The question we must answer, then, is whether subsequent modifications transformed the scanned photograph into something that was no longer a photograph.

There is no doubt, noticeable alterations to the image from original photo. Arguably these changes have transformed the image from a photograph into an illustration based on a photograph.

Viewing the problem through this lens, we conclude that the alterations made failed to destroy the essentially photographic quality of the image.

Changes in color alone do not render an image any less photographic, but here the addition of posterization has produced an effect such that at first glance it is unclear how the image was created.

The question, however, is not whether the image is readily recognizable as a photograph standing alone. To evaluate the degree of accurate, lifelike detail an image contains, we must necessarily compare it to the original.

Once we do this, all doubts disappear. The precise shapes, their positions, their spatial relationship to each other--all remain perfectly distinct and identical to the original.

Despite the differences in appearance, no one familiar with the original can fail to recognize this. The image thus remains essentially what it was the moment it was transferred to the poster: a photographic reproduction. It is now a filtered, posterized reproduction--but photographic nonetheless.

We find that the use of the photo was an unauthorized use and therefore infringes copyright. We REVERSE and REMAND for a determination of damages.

http://bulk.resource.org/courts.gov/c/F3/207/207.F3d.1119.98-16061.html]]></description>
		<content:encoded><![CDATA[<p>We must answer the following riddle: When is a photograph no longer a photograph?</p>
<p>Nevertheless, our task of interpretation is reduced substantially, because the parties agree, to some extent.</p>
<p>The question we must answer, then, is whether subsequent modifications transformed the scanned photograph into something that was no longer a photograph.</p>
<p>There is no doubt, noticeable alterations to the image from original photo. Arguably these changes have transformed the image from a photograph into an illustration based on a photograph.</p>
<p>Viewing the problem through this lens, we conclude that the alterations made failed to destroy the essentially photographic quality of the image.</p>
<p>Changes in color alone do not render an image any less photographic, but here the addition of posterization has produced an effect such that at first glance it is unclear how the image was created.</p>
<p>The question, however, is not whether the image is readily recognizable as a photograph standing alone. To evaluate the degree of accurate, lifelike detail an image contains, we must necessarily compare it to the original.</p>
<p>Once we do this, all doubts disappear. The precise shapes, their positions, their spatial relationship to each other&#8211;all remain perfectly distinct and identical to the original.</p>
<p>Despite the differences in appearance, no one familiar with the original can fail to recognize this. The image thus remains essentially what it was the moment it was transferred to the poster: a photographic reproduction. It is now a filtered, posterized reproduction&#8211;but photographic nonetheless.</p>
<p>We find that the use of the photo was an unauthorized use and therefore infringes copyright. We REVERSE and REMAND for a determination of damages.</p>
<p><a href="http://bulk.resource.org/courts.gov/c/F3/207/207.F3d.1119.98-16061.html" rel="nofollow">http://bulk.resource.org/courts.gov/c/F3/207/207.F3d.1119.98-16061.html</a></p>
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		<title>By: suburbanlife</title>
		<link>http://theaestheticelevator.com/2009/02/05/fair-use-and-art-as-interpretation/#comment-12999</link>
		<dc:creator><![CDATA[suburbanlife]]></dc:creator>
		<pubDate>Fri, 06 Feb 2009 03:37:17 +0000</pubDate>
		<guid isPermaLink="false">http://theaestheticelevator.com/?p=2069#comment-12999</guid>
		<description><![CDATA[I also think this is an example of fair use - it is an interpretation, generally messed with a fair bit. On the other hand, this posterized way of working an image is nothing new - 30 years ago I posterized and silkscreened in red white and blue an photographic portrait of myself after messing with the negative in the darkroom and making posterized effects in printing the negative. It amuses me that this technique is considered as something novel with those much younger than myself who have little cultural reference memory. Andy Warhol also used source photos made by others in many of his works. If he were a practising artist these days, he&#039;d be a sitting duck for lawsuits of all kinds,
Really, with the common availability of image altering technologies, anyone can take someone else&#039;s image and alter it creatively. The question of copyright is gradually being weakened by the ubiquity of technologies with which to make easy alterations that are then considered extensions of an image, or departure from the image original. G]]></description>
		<content:encoded><![CDATA[<p>I also think this is an example of fair use &#8211; it is an interpretation, generally messed with a fair bit. On the other hand, this posterized way of working an image is nothing new &#8211; 30 years ago I posterized and silkscreened in red white and blue an photographic portrait of myself after messing with the negative in the darkroom and making posterized effects in printing the negative. It amuses me that this technique is considered as something novel with those much younger than myself who have little cultural reference memory. Andy Warhol also used source photos made by others in many of his works. If he were a practising artist these days, he&#8217;d be a sitting duck for lawsuits of all kinds,<br />
Really, with the common availability of image altering technologies, anyone can take someone else&#8217;s image and alter it creatively. The question of copyright is gradually being weakened by the ubiquity of technologies with which to make easy alterations that are then considered extensions of an image, or departure from the image original. G</p>
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		<title>By: Tim J.</title>
		<link>http://theaestheticelevator.com/2009/02/05/fair-use-and-art-as-interpretation/#comment-12997</link>
		<dc:creator><![CDATA[Tim J.]]></dc:creator>
		<pubDate>Fri, 06 Feb 2009 01:07:54 +0000</pubDate>
		<guid isPermaLink="false">http://theaestheticelevator.com/?p=2069#comment-12997</guid>
		<description><![CDATA[I think it&#039;s pretty clearly a case of fair use. There is obviously some genuine interpretation of the photo going on, and the photo was used as a reference - a source of information - rather than being copied.

The AP might just see the chance for a quick buck, but I think it more likely that they want to intimidate other artists who might be thinking of doing something similar.]]></description>
		<content:encoded><![CDATA[<p>I think it&#8217;s pretty clearly a case of fair use. There is obviously some genuine interpretation of the photo going on, and the photo was used as a reference &#8211; a source of information &#8211; rather than being copied.</p>
<p>The AP might just see the chance for a quick buck, but I think it more likely that they want to intimidate other artists who might be thinking of doing something similar.</p>
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