OCA Photography Blog: P&P-Assignment Two; Corrections

P&P-Assignment Two; Corrections

Assignment Two – Corrections

I have to say, this is the first time I have been truly happy with my feedback, I am feeling very motivated for my next assignment and I hope that I continue to do well.

Reading what my tutor wrote with regards to the UK laws about photographing in public was an eye opener, I am glad that it is legal and my tutor gave some very good tips on how to overcome the problem (if there is one) on photographing in a public place. I will defiantly carry a copy of my form with me from now on.

Here are the following are the corrections I have made in response to my tutors feedback.

Observing;- I laughed when I read about the father looking board, as I thought that too and on reflection, I should have included this thought in my assignment. I was in a public space technically, I tried to photograph the inside area that was attached to the ice skating rink and was told that I could only photograph outside, so for this image I was positioned on the balcony and I was informed this was OK to do. I feel the privacy concerns here would have been noted by them if they knew what I was doing, but I feel that there is no issue with this, or any of the images I have chosen to use for my assignment and exercises.

Round and around; - I agree that a longer exposure would have been better and I wish that I had used it for this photograph, at the time I tried to take the photograph again with a longer exposure, however the clarity of the girls and positioning did not make for a good image, so I used this one as I felt it was better. My tutor sent me an attachment with the image cropped, which he thought made for a better image. So I could achieve a better quality image I did another one with my original image to his specification.

I am not too sure about this crop, I think it focuses well on the girls but I quite liked the vacant space in front, so I have tried another crop to see if that is any better.

I think I like this one better, I agree the top of the image should be cut out, but not as much. For this one I left the length of the image on the right hand side and cropped in closer to the girls, I also took off a bit off of the top.

Couples; - I completely agree with the comments in regards to being able to see their hands, unfortunately even with moving positions I could not get the image the way I wanted it, as there was one thing in focus and not the rest, then I could not seem to get a shot of their hands completely. Hence the reason I did not include it on my contact sheet. I did manage to get this image below of a different couple, which as you can see is blurred and I am unsure as to whether or not it makes a good image.

Professional;- I agree with regards to this image, I found it difficult to get her in focus as she was going so fast, and in the panning shots her face was blurred in a bad way. I did manage to get a shot of her speeding towards me, however I did not include this image in my assignment as her face was not sharp. I did a bit of post production and used this image below.

I think this would have been a great image to show her speed due to the way her body was positioned, I just wish I had focused better.

Say cheese;- I tried to find an image of this where I had used a wider aperture, alas, I could not find one, but I will keep it in mind next time.

Blades;- I had a look through the images that I have of the ice skates themselves and I do not have a single image where I have the feet are separated, the whole of the leg or space in front of the skates, as my tutor has said, it was extremely difficult to get this shot. I have however, included a contact sheet with the said images on.

The reason I chose the original image for my assignment was because it was the sharpest I could get with the best composition for shot I wanted. As you can see above, I found it difficult to achieve a great image for the activity I wanted to portray.

My tutor suggested there could have been a few more different viewpoints, which I fully agree with. I did have a shot with a single spectator, there were not many spectators as all the families and friends were all on the ice and I felt it did not really tell a story, so I felt the father and child who were in the first image made for a better shot. The other suggestions, I could not do due to not being able to take images inside and the queue etc was inside. I tried to get some shots of people coming straight out, but they did not make for good images. I will try and use the form next time to see if they would make me the exception to the rule, when being restricted in my photography.

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Books Used

Visions of Earth: National Geographic photographs of beauty, majesty and wonder; By National Geographic
The New Street Photographers Manifesto; by Tanya Nagar
Digital Photo magazine: Editor John Adams
Skyscrapers: A history of the World’s Most Extraordinary Buildings; Revised and updated by Judith Dupre and Adrian Smith
My Cool Shed: An Inspirational Guide to Stylish Hideaways; By Jane-Field Lewis
Light Science & Magic, An Introduction to Photographic Lighting; By Fil Hunter, Steven Biver and Paul Fuqua
The Elements Of Photography; By Angela Faris Belt
Photos for the future 2: Sutton publishing and The History
The Times picture collection- Explorers, a history in photographs: by Richard Sale and Madeleine Lewis

Copyright

All images are owned by me, Miriam Perritt, any person/s who use my work without my
authorization will face legal action.

Copyright Law
Issued: April 2000Last amended: 27th November 2009The UK copyright law fact
sheet outlines the Copyright, Designs and Patents Act 1988, the principal
legislation covering intellectual property rights in the United Kingdom and the
work to which it applies.Introduction Copyright law originated in the United
Kingdom from a concept of common law; the Statute of Anne 1709. It became
statutory with the passing of the Copyright Act 1911. The current act is the
Copyright, Designs and Patents Act 1988.Rights coveredThe law gives the
creators of literary, dramatic, musical, artistic works, sound recordings,
broadcasts, films and typographical arrangement of published editions, rights
to control the ways in which their material may be used.The rights cover;
broadcast and public performance, copying, adapting, issuing, renting and
lending copies to the public.In many cases, the creator will also have the
right to be identified as the author and to object to distortions of his
work.International conventions give protection in most countries, subject to
national laws.Types of work protectedLiterary song lyrics, manuscripts,
manuals, computer programs, commercial documents, leaflets, newsletters &
articles etc.Dramatic plays, dance, etc.Musical recordings and score.Artistic
photography, painting, sculptures, architecture, technical drawings/diagrams,
maps, logos.Typographical arrangement of published editionsmagazines,
periodicals, etc.Sound recordingmay be recordings of other copyright works,
e.g. musical and literary.Film video footage, films, broadcasts and cable
programmes.The Copyright (Computer Programs) Regulations 1992 extended the rules
covering literary works to include computer programs.When rights occurCopyright
is an automatic right and arises whenever an individual or company creates a
work. To qualify, a work should be regarded as original, and exhibit a degree
of labour, skill or judgement.Interpretation is related to the independent
creation rather than the idea behind the creation. For example, your idea for a
book would not itself be protected, but the actual content of a book you write
would be. In other words, someone else is still entitled to write their own
book around the same idea, provided they do not directly copy or adapt yours to
do so.Names, titles, short phrases and colours are not generally considered
unique or substantial enough to be covered, but a creation, such as a logo,
that combines these elements may be.In short, work that expresses an idea may
be protected, but not the idea behind it.Who owns a piece of workNormally the
individual or collective who authored the work will exclusively own the work
and is referred to as the ‘first owner of copyright’ under the 1988 Copyright,
Designs and Patents Act. However, if a work is produced as part of employment
then the first owner will normally be the company that is the employer of the
individual who created the work.Freelance or commissioned work will usually
belong to the author of the work, unless there is an agreement to the contrary,
(i.e. in a contract for service).Just like any other asset, copyright may be
transferred or sold by the copyright owner to another party.Rights cannot be
claimed for any part of a work which is a copy taken from a previous work. For
example, in a piece of music featuring samples from a previous work, the
copyright of the samples would still remain with the original author.Only the owner,
or his exclusive licensee can bring proceedings in the courts.Duration
of copyrightThe 1988 Copyright, Designs and Patents Act states the duration
of copyright as;For literary, dramatic, musical or artistic works70 years from
the end of the calendar year in which the last remaining author of the work
dies.If the author is unknown, copyright will last for 70 years from end of the
calendar year in which the work was created, although if it is made available
to the public during that time, (by publication, authorised performance,
broadcast, exhibition, etc.), then the duration will be 70 years from the end
of the year that the work was first made available.Sound Recordings and
broadcasts50 years from the end of the calendar year in which the work was created,
or,if the work is released within that time: 50 years from the end of the
calendar year in which the work was first released.Films 70 years from the end
of the calendar year in which the last principal director, author or composer
dies.If the work is of unknown authorship: 70 years from end of the calendar
year of creation, or if made available to the public in that time, 70 years
from the end of the year the film was first made available.Typographical
arrangement of published editions25 years from the end of the calendar year in
which the work was first published.Broadcasts and cable programmes50 years from
the end of the calendar year in which the broadcast was made.Crown
CopyrightCrown copyright will exist in works made by an officer of the Crown,
this includes items such as legislation and documents and reports produced by
government bodies.Crown Copyright will last for a period of 125 years from the
end of the calendar year in which the work was made.If the work was
commercially published within 75 years of the end of the calendar year in which
it was made, Crown copyright will last for 50 years from the end of the
calendar year in which it was published.Parliamentary CopyrightParliamentary
Copyright will apply to work that is made by or under the direction or control
of the House of Commons or the House of Lords and will last until 50 years from
the end of the calendar year in which the work was made.Restricted actsIt is an
offence to perform any of the following acts without the consent of the owner:Copy
the work.Rent, lend or issue copies of the work to the public.Perform,
broadcast or show the work in public.Adapt the work.The author of a work, or a
director of a film may also have certain moral rights:The right to be
identified as the author.Right to object to derogatory treatment.Acts that are
allowedFair dealing is a term used to describe acts which are permitted to a
certain degree without infringing the work, these acts are:Private and research
study purposes.Performance, copies or lending for educational
purposes.Criticism and news reporting.Incidental inclusion.Copies and lending
by librarians.Acts for the purposes of royal commissions, statutory enquiries,
judicial proceedings and parliamentary purposes.Recording of broadcasts for the
purposes of listening to or viewing at a more convenient time, this is known as
time shifting.Producing a back up copy for personal use of a computer
program.Playing sound recording for a non profit making organisation, club or
society.(Profit making organisations and individuals should obtain a license
from PRS for Music.)Useful addressesIntellectual Property OfficeConcept
HouseCardiff RoadNewportSouth WalesNP10 8QQTel: 0300 300 2000
begin_of_the_skype_highlighting 0300 300 2000 FREE
www.ipo.gov.ukPRS for Music29-33 Berners
StreetLondonW1P 4AATel. (0207) 580 5544www.prsformusic.comCopyright
Licensing AgencySaffron House6-10 Kirby StreetLondonEC1N 8TSTel. 020 7400 3100
begin_of_the_skype_highlighting 020 7400 3100 FREE
www.cla.co.ukFurther readingThe original text for
the 1988 Copyright Designs and Patent Act can be found at the OSPI (HMSO) website,
but should be read in conjunction with all the relevant updates and statutory
instruments.To avoid confusion, we recommend a copy that includes the
amendments since 1988, such as can can be found at the Office of
Public Sector Information, http://www.jenkins.eu/statutes/copyright.asp or
download as a PDF file directly from the Intellectual Property
Office.This fact sheet is Copyright © The UK Copyright Service and protected
under UK and international law. The use of this fact sheet is covered by the
conditions of a Creative Commons
Attribution-Non-Commercial-No Derivative Works License.This fact
sheet is intended only as an introduction to ideas and concepts only. It should
not be treated as a definitive guide, nor should it be considered to cover
every area of concern, or be regarded as legal advice

P&P-Assignment Two; Corrections

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