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There are two main ways photographers charge for their work - either on commission, or through reproduction fees. In either case, as "authors" under the Copyright Designs and Patents Act 1988, and therefore owners of the copyright in their photographs, they are in fact issuing licenses to reproduce them. For convenience, however, the suggested rates are listed in the traditional categories of commission and repro fees.

One rainy night eight years ago, in Watertown, Massachusetts, a man was taking his dog for a walk. On the curb, in front of a neighbor's house, he spotted a pile of trash: old mattresses, cardboard boxes, a few broken lamps. Amidst the garbage he caught sight of a battered suitcase. He bent down, turned the case on its side and popped the clasps. He was surprised to discover that the suitcase was full of black-and-white photographs. He was even more astonished by their subject matter: devastated buildings, twisted girders, broken bridges - snapshots from an annihilated city. He quickly closed the case and made his way back home.

Richard Whelan, Biographer/book, "Robert Capa: A Biography" [University of Nebraska Press]/Michael Hoffman, Philadelphia Museum of Art/book, "Robert Capa/Photographs"

Sharbat Gula - 'The Afghan Girl' photographed by Steve McCurry for National Geographic.

Thus far, 2009 has been the year of Paul Graham. The British-born photographer's study of American life, a shimmer of possibility, is on display at New York's Museum of Modern Art through May 18; he is on the shortlist for the £30,000 Deutsche Börse Prize; and a mid-career survey of his work, which opened in January at Folkwang Museum in Essen, Germany, and will travel to Hamburg and London. SteidlMACK has also released a new single-volume edition of shimmer (originally a 12-volume set), and another book, simply titled Paul Graham, to match the survey. Graham, who currently lives in New York, recently corresponded via email with PDN about the influence of American photography on his photographs, his creative process, and why the "documentary" label misses the mark in describing his work.

Eggleston talks about his father. "He didn't mean for any of his pictures to make any kind of statement. They just are what they are and how he'd like them to look I guess." - Winston Eggleston

forwardthinkingelevatorThe Forward Thinking Museum is an entertaining little online museum with good photography (here). No, it doesn't replace real museums with real prints, but some of us drive desks all day and a little side entertainment is needed once in awhile. It was created by Joy of Giving Something, Inc. a not-for-profit corporation dedicated to encouraging aesthetic reflection about present realities and future possibilities and contains material

Landmark moments in citizen journalism Monday, March 30, 2009 Depending on whom you ask, citizen journalism is either pushing journalism forward or is unaccountable vigilantism. Either way, it is shaping the way we consume our news. Surely ordinary citizens were documenting and discussing news events before the advent of the internet but what separates citizen journalism from pure observation is the use of the net as an avenue to either aid or circumvent traditional media outlets and spread the news independently. Average Joes can take their own photos, record their own video and recount a story through blogs or other social media, often more quickly than a media organization can begin to report and in a more organic way than is usually presented by mainstream media. The following is a timeline of events in which ordinary citizens shaped the news, followed by an analog description of each landmark moment.

'The dedicated cit-j agency model isn't the way forward' Posted: 09/02/09 By: Kyle MacRae email this story | post a comment Profile picture of Kyle Macrae Scoopt, the 'citizen journalism' photo agency I co-founded in 2005 and sold to Getty Images in 2007, is no more. On a personal level, that's a little sad: like losing a child, albeit an errant one that left home long ago. But, as a business decision, I understand Getty's move completely: fundamentally, the Scoopt model doesn't work. That's not to say that people don't want to sell their newsworthy images; many of them do. Nor is to say that the mainstream media has little appetite for such pictures; it most certainly does (note, that's newsworthy pictures we're talking about, not 24,000 snapshots of snow). But it is to say - in my personal but rather battle-weary opinion - that the dedicated cit-j agency model isn't the way forward.

While it's a no-brainer to say (as I did endlessly) that whenever news breaks there's likely to be a punter with a cameraphone on the scene before a pro, the chances of that punter already being a member of your agency, or even having heard of it, are vanishingly small.

ERROL MORRIS\nPublished: July 13, 2008\n\nNEWSPAPERS and blogs are once again filled with a story about a digitally altered photograph. A picture of missiles launched by Iran. A picture that purports to show four missiles being fired rather than the three shown in other photographs of the launching. Are we to infer that no missiles were launched? Or just three? Or maybe only two? Take several steps back. Are we being tricked into thinking that Iran is a bigger threat than it is?

Photographers on Twitter: How They Use It By Qiana MestrichqianamestrichcloseAuthor: Qiana Mestrich See Author's Posts (6) Recent Posts * Braving the Sight Unseen: Interview with Blind Photographer Timothy O'Brien * Photographers on Twitter, Part 2: My Favorite Tweets * Photographers on Twitter: How They Use It * Photography Empathy: How You Feel Is What You Get * Your Camera Is an Agent for Change Born and raised in Brooklyn, New York, of Panamanian and Croatian heritage, Qiana Mestrich has studied photography and its history for more than 15 years. Trained as a fine art photographer, Qiana's personal work ranges from portraiture to still life and landscapes. As a world citizen, she's also documented her travels to countries like Panama, Cuba, Trinidad & Tobago, the U.K. and more to come. View Qiana Mestrich's fine art photography on her Web site or read her blog, Dodge & Burn: Diversity in Photography. in Business of Photography on December 4th, 2008 What is Twitter? You may have heard of it from many different sources like the social media geeks in your life. Perhaps it was through corporate news like the recent Twittering Moms against Motrin incident or how the online shoe retailer Zappos uses this micro-blogging platform to transparently communicate with its customers. Regardless of what you've heard, it all started with a 14-year old Jack Dorsey (now CEO) who way back when wondered: what if you could create an instant messaging service to easily and quickly share your status with friends and vice versa? Personally, I created my own profile after reading that NASA's Phoenix Mars lander was posting updates of its mission on Twitter. Soon after choosing my profile picture and a photo to customize my Twitter background, I discovered there was a whole world of online communication happening-with over 3 million users all sending messages to each other, in 140 characters or less. Within the Twitter-verse, I've found many who identif

Includes a photograph a citizen journalist took of a Mercedes packed with Propane gas that was to explode outside of a nightclub off Haymarket St. The photograph earned £20,000 for the photographer.

Research paper from 2008 plotting the evolution of Flickr and examining it's emerging role as a community forum for disaster-related grassroots activity.

Is The Amateur Really A Threat to the Pro? Consider the photographer who has an unlimited amount of time to accomplish an image. Or, the student, who has a week or two to complete an assignment on, say, lighting a bowl of fruit. Or, the hobbyist photographer, who stumbles upon a great image. Are these photographers a threat to the photographer who works on assignment?