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in the post as there is no one in the offi ce to receive them for the time being. Thanks for your understanding.
IreadyourTreasuredSnapsfeature
(AP1 February)withmuchinterest.
I workat a smallmuseumwherewe
havea collectionof photographs
datingfromthelate1800stothe
presentday.Someareoriginalcopies
thathavebeencollectedbyor
donatedtothemuseum.Copiesof
somearealsoheldbyothermuseums
andgalleries.I havesomequestionson
wherethemuseumstandsoveruseof
thecopieswehold?
- Is themuseumabletousethese
photographsastheywishforsocial
mediaandmarketingpurposes?
2.Cancopiesfordisplaypurposesbe
madeof thephotographs?
3.Wouldwebeabletosellcopiesof
thephotograph? - Whoholdsthecopyrighttothe
photowhenmultiplecopiesexist?Can
anorganisationclaimcopyrightif they
onlyholda copyof a photograph
wherea copyof thatsamephotograph
is heldbyothers?I havealways
believedthatthepersonwhoholds the
negativeownsthecopyright.
MichaelR Taylor
Thisis a bitofa minefieldsowe
askedMichaelPritchardfromthe
RoyalPhotographicSociety.
‘Thedateofthephotographandthe
dateofdeathofthephotographer
are key to what the museum may
dowithit.Thephotographmaybe:
- Stillin copyright(wherethe
photographeris stillaliveor
recentlydeceased). - Consideredorphaned(wherethe
photographeris unknownbutit is
likelythatcopyrightmaystillreside
withhimorher,ortheirestate). - Outofcopyright(fortheoldest
imageswherecopyrightwillhave
reasonablyexpired,usually 70
yearsfromthedeathofthe
photographer).
‘Forphotographsoutofcopyright
themuseummayusetheimagesas
it wishes.Fororphanedworksthere
is a formalprocessthemuseumcan
usetomakeuseofthem,orit may
choosetotakea pragmatic
approachwhichcarriesa small
elementofriskfroma potential
claimant;andforphotographsthat
remainin copyrightwhereit knows
thephotographerit shouldagree
termsofuseandputthisin writing.
‘AstoMrTaylor’sfinaltwopoints: - Wherethemuseumis buying
photographsdirectlyfroma
photographerortheirestateit’s
goodpracticetoagreea licencefor
theirfutureuseandkeepthiswith
themuseumaccessionrecord. - Wheremultiplecopiesofa photo
exist,thenif it is outofcopyright
eachownercandoastheywishwith
it.Ownershipofthenegative(or
digitalfile)doesnot give ownership
of copyright.’
Inbox
Copyright queries
LETTER
OFTHE
WEEK
WNS
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LETTER OF THE WEEK
Adobeusesa subscription
modelforitssoftware
existingcustomerstobuy
anupgrade?A fewmonths
laterandthesame
economicsmagazine
praisedtherecently
launchedAdobe
subscriptionplans,fortheir
abilitytocompel
customerstokeepon
payingforproducts.
Theotherclassic
businesstacticis built-in
obsolescence.Where,by
meansof a well-designed
upgrade,allof the
previousproductscanbe
renderednon-functional.
Therebyrequiring
customerstoreturnand
payagain,forwhatis
almostalwaysessentially
thesameproduct.
Applecancorrectly
arguethatbymovingto
64-bit,it is helpingto
protectAppleusersfrom
hackers.And,in turn,
Adobecanarguethat
usersarebetterprotected
frommalwarebyitsnew
subscriptionsoftware.
I knowof a numberof
peoplewhohavemoved
theirpaid-forcopiesof
PhotoshopandLightroom
fromAppleandonto
Windowsbecause
Windows 10 is currently
abletoworkwitholder
softwarebuthowlong
willthislast?
Therearealternativesto
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arefineandfullyfunctional
alternativesto the
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paid-forsoftwarepackages
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YOUR LETTERS
Shark-infested
software
InresponsetoGraham
Serretta’sheartfeltletter
aboutsoftware(Inbox,
14 March)I believethat
businesses are rather like
sharks.It is saidthatto
avoidsuffocationa Great
Whitemustkeep
swimming.In a similarway,
a businessmustcontinually
devourmoney.I remember
aneconomicsarticlethat
argued that Adobe was a
‘basketcase’,becauseits
productswerenowso
good,theydideverything
thattheircustomerscould
possiblywant.Sohow,the
magazineasked,could
Adobepossiblyattractnew
customers, or even get any
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