Письмо сие было написано или в самом конце 1996 г., или в самом начале 1997 г., отпечатано на (почти) доисторическом компьютере у мамы на работе и отвезено и собственноручно опущено прямо в почтовый ящик, что висел у входа в редакцию “Московской правды”. Для этого мне пришлось открыть для себя множество входов и выходов станции “Улица 1905 года”.

Будучи подростком, я много писала такого, о чем моя бабушка говорила: “Вот бы это напечатать!” У меня есть все основания радоваться тому, что ни один из тех текстов никуда не был отправлен и нигде не появился, хотя они все до сих пор живы и хранятся под бдительным присмотром.  Но с текстом, напечатанным в рубрике “Наезд”, произошла какая-то другая история. Думаю, я просто знала (хотя в те времена я еще не вполне отдавала себе в этом отчет), что он чертовски хорошо написан.

Потянулись дни. Не скажу, что они были слишком долгими. Я заканчивала школу, мне было чем забивать себе голову, кроме вопрос “напечатают или нет”. Именно тогда, в 1990-е, я безуспешно пыталась вести дневник. Мне просто было неинтересно записывать, что произошло в такой-то день, кто и что сказал. В этом мне виделось нечто тривиальное, а ничем тривиальным мне заниматься не хотелось.

Но когда в начале апреля 1997 г. мне позвонил сам главред и сообщил, что письмо будет опубликовано в ближайшем номере, это абсолютно стоило того, чтобы это запечатлеть в дневнике. Красными чернилами, между прочим.

Не вдаваясь в подробности, скажу лишь, что встреча с Евгением Юрьевичем стала судьбоносной. Я собиралась поступать на юрфак; посещение редакции и последующее чтение ГПК (к одному школьному экзамену: я была сообразительным ребенком по части поиска недостающей информации) дали мне понять, слава богу, что это поступление будет громадной ошибкой. Правда, идти на журфак это посещение меня тоже не убедило, хотя я, в конце концов, пришла-таки к тому, от чего так долго уходила. Но думаю, это лишний раз подтверждает всем нам давно известные истины: пути Господни неисповедимы, и никогда не нужно говорить “никогда”.

Оглядываясь же на личный опыт, и эта публикация и приглашение в редакцию, и кое-что другое (и связанное, и не связанное с журналистикой), говорятмне об одной, может быть, двух вещах. О первой лаконично написал любимый мною Сомерсет Моэм: “Смешная штука жизнь: если ты отказываешься от всего, кроме самого лучшего, то обычно добиваешься того, к чему стремишься”. Вторая – название книги одного из гуру рекламного бизнеса, Пола Ардена: “Прыгай выше головы”.

When Social Media Went Mainstream…

Originally uploaded by loscuadernosdejulia

I suppose in a way this may be the indication of spending too much time in Social Media. And yet, had you been in my place, would you not react in the same way to the letters “RSS”?

Heaton Park 43

Originally uploaded by loscuadernosdejulia

Taken at Heaton Park, Prestwich, Greater Manchester, in April 2009.

Horses at Clifton Marina

Originally uploaded by loscuadernosdejulia

The photo dates back to the summer of 2002 when I visited England for the first time ever.

Southport – The Old Bank

Originally uploaded by loscuadernosdejulia

On my recent visit to Stockport, I was both amused and fascinated by the way additional banners were placed on the existing banners at the Old Bank. “The Old Ban” that came out in one instance was particularly amusing.

Princess Street

Originally uploaded by loscuadernosdejulia

I took this picture in October last year when my friend and I were walking from Manchester Art Gallery towards Castlefield. One thing I never do to my pictures (well, partly because I’m terribly bad at it) is editing them in PhotoShop. Any light, shadows and movement I catch are “original”, and I try and keep the camera settings as “natural” as possible.

In this picture we look down Princess St. One of Manchester’s central streets, it runs from the Town Hall past Chinatown towards the Gay Village. Here I caught it half a month before the Christmas lights went on, so you see the giftboxes hanging down. But I chose it for a different reason. I love the light in this picture, which is anything but autumnal or wintery. It reminds me of spring, and what could be a better way to send the greetings on the first day of spring (or March, at least) to all of you?

In the first week of December I went to Birmingham, and one my destinations was the Birmingham Musem and Art Gallery that houses the works of some leading Pre-Raphaelites. Taught by experience, I asked about the photography. Yes, I had to fill out the form again, but this time the rules were set out in more detail, although once more there is a clause or two that may potentially be difficult to interpret even for the staff themselves:

1. Any copyrights (including publication rights) created in the photographic materials produced under the conditions stated below are reassigned to Birmingham Museum and Art Gallery.

2. Any photography is for personal reference only. No permission for any reproduction rights of any kind is granted or may be assumed. Permission for reproduction rights should be applied for, in writing, to the Picture Library. Each case will be evaluated independently.

3. Any work, which is protected by the artists’ copyright, may not be photographed without the permission of the copyright holder.

4. Any works on loan, including temporary exhibitions, may not be photographed.

5. Flash photography is permitted unless otherwise specified.

6. The use of professional photographic equipment is prohibited. Tripods and monopods may not be used under any circumstances.

7. Video cameras or camcorders may not be used under any circumstances. Filming is prohibited.

Fair enough, reading these rules may put an intrepid visitor off taking pictures in the gallery altogether. However, the first two points just further reinforce what I have highlighted in the previous post on the question of reproduction. The problem is seemingly not only about a picture’s commercial use, but about the multiplicity of such uses. Naturally, if the photo is included in a book, it will be reproduced as many time as the book. For this, it is essential to apply for a permission to a museum.

Regarding the 3rd point, my feeling is that this needs to be discussed with the copyright holder before their work actually gets to be displayed. This is something that many professional artists’ and photographers’ websites tend to lose the sight of. By creating a website and making it public, they by default agree that this information can be shared. It is the same as with the printed word: if it was printed, you cannot stop people from quoting it. This is not to say that their work can be reproduced for commercial purposes by other people, but this should mean that a blogger may wish to not only write about them and give a link to their website, but also to include an image in the post, to illustrate why it would be good to visit the website at all.

Likewise, when an artist is displaying their work at the museum or gallery where photography is generally permitted, they have to be aware that a visitor can upload a taken photo online. It makes every sense to restrict this, on the one hand; but, on the other hand, the world has grown bigger with the Internet, and this potentially means that artists, especially young, may find it more and more difficult to compete with other artists and to assert themselves in the world. Social Media tools, and particularly photosharing, will facilitate this to an extent.

With loaned works and temporary exhibitions, I feel the galleries would need to spare some resources to clearly display the permission signs in such spaces of the gallery. As more and more often galleries intercept the regular display with a temporary exhibition, it is difficult for a visitor to understand where a photography permission ends and where it resumes again.

Regarding the specialist photography permission, this is a good point and the one that I think can be reinforced to avoid the taken photos being reproduced to a commercial end. This is how the Brooklyn Museum defines their stance on photography in the gallery:

Photography and videography are allowed in the Museum so long as the images are taken using existing light only (no flash) and are for personal, non-commercial use. Photography and videography are often restricted in special exhibition galleries.

Add to this also that many paintings are displayed under the glass, hence the photographic image of a painting in the gallery space can be far from ideal for reproduction.

A different take on photography and videography in the museum comes from the State Hermitage Museum in St Petersburg, Russia. As you need to purchase tickets to view the collection, you can also purchase a permission to make photos or videos in the museum. The website explains that there are warning pictograms in the halls where it is not permitted to take photos or to use flash. I did use this permission once myself in 2002, and this was great to show the museum to my parents who happened to have never visited the Hermitage.

The question rises, of course: why would I film, and not buy a video cassette or a DVD? Well, we all count our pennies, and on my memory even 6 years ago it was cheaper to pay for a photography pass rather than to buy a DVD set. I have been taking a notice of what people photograph and film, and I have never seen any of them making a complete record of the collection. If any of the readers have been to the Hermitage, they vividly imagine the sheer grandeur of the place: you would not know what to photograph because there is too much to see, and all too splendid! They say it takes 5 hours to quickly run through the entire Hermitage (i.e. only stopping at a few paintings), so imagine the weight of this on your photo- or videocamera. But what the Hermitage achieving with this is very valuable. On the one hand, they allow people to create a personal record of a visit to this art depository, a historic monument, and one of the most beautiful sights in the world altogether. On the other hand, by asking for a small fee for a photography permit they also bring in money to the museum.

It looks like more and more art depositories are beginning to ask visitors to fill in a photography permission form. I do think that this is likely to be requested in a smaller gallery rather than in a big one. Imagine the huge queue of tourists at the British Museum, all filling out permission forms… As I stated before, I do not see any problem with restricting photography at the special exhibitions, and then there is a tricky situation with the works of art by contemporary artists, as not only is there a “regular” sort of copyright which we all acquire by virtue of producing a work of art, but there is also a 70-years copyright restriction. On the other hand, those works of art can often be found online anyway, so the first question is whether the artist and the art depository by restricting the permission actually end up pushing away the benefits of being directly credited in the image?

Another problem is how to define the concept of “reproduction”. Indeed, if I take a photo of a painting (sculpture, photograph by the like of Man Ray, etc), I am effectively “reproducing” it. Yet again, there are so many reproductions of these works of art on the Internet, and services like AllPosters.com not only provide links to a large number of online images, they also produce quality prints. I never ordered any posters from the mentioned site or others, but it would certainly be interesting to leverage the number of prints bought by those who visited, say, the National Gallery shop online or in person, and the number of prints bought through a poster-making website.

I must admit I never looked into the relationship between AllPosters.com and any of the art depositories, whose works they print: perhaps, there is a sale commission agreement, or some such. Whatever is the answer, this is clearly the case of an image being reproduced for commercial purposes. How is this different from uploading a photo to a blog or to Flickr? As far as Flickr goes, this is currently a non-commercial service, so “reproducing” an image there should not be constituted as a commercial move.

Uploading a photo to a blog can be more complicated to an extent, if the publisher uses AdSense. My personal view, however, going off the fact that many of the images are available online via different resources, is that if the publisher intends to earn their income by “reproducing” the works of art on their blog, there is little need for them to visit a museum and twist the brains over photography permission. They can find very many images on the web, or they can scan “reproductions” from a book.

Two things may be kept in mind. First, art depositories need to assume that people who do fill out a photography permission form may be intending to upload photos to the web: this constitutes the “personal use” for them. This intention cannot be denied simply because photosharing services are one of the most powerful communicative tools online at the moment, and it would be a pity to see the depository restricting this. Rather, a depository should have the means to see where people upload photos taken in the depository, and how these are being used. The question of an image credit is usually not disputed by the online community, but there is nothing wrong about reinforcing it.

And the second thing is that an art depository that asks for a permission form to be filled in, can in fact include in it a question about how the visitor is planning on using the photo. Better yet, visitors can be asked to apply for a permission online, and if they are an online publisher (i.e. blogger or website owner), the depository will be able to evaluate the resource prior to giving a consent to photography. Needless to say, such requirement would have to be very clearly displayed on the website or in the gallery.