Cost of Freedom
  • Announcement
  • Preface: the Voices of Free culture
  • Introduction
  • Collective Memory
    • The Uncommon Creativity of Bassel Khartabil
    • Bassel, and My Freedom
    • About Bassel
    • #NEWPALMYRA and the Free Bassel Campaign
    • Palmyra 3D, Premonition Vision Of Bassel
    • Rebuild Asad Al-Lat
    • Supporting Bassel
    • What Does Freedom Mean to You, Mr. Government?
    • Bassel K
    • My Friend is Not Free
    • Liberté
    • Free Bassel
  • Opening:Freedom
    • Keeping Promises
    • The Shit of Freedom
    • “Freedom To” vs. ”Freedom From”
    • Free Culture in an Expensive World
    • What is Open?
    • The Open World
    • Costs of Openness
    • My Brain on Freedom
    • Too Poor Not to Care
    • Inside or Outside the Movement
    • Freedom as a Commodity
    • Free as in Commons
  • Architectonics Of Power
    • Hacking the Contradictions
    • Time to Wake Up
    • The Cost of Internet Freedom
    • Why I Choose Privacy
    • Why I Choose Copyright
    • Why I Refused My Proprietary Self
    • Image, Identity, Attribution, Authorship
    • The Burden of Journalism
    • Architecture = Power
    • From Outer Space
    • Free Software Economics
    • Beyond Capitalism
  • Affordances
    • Queering
    • Nomadic Family
    • Self-Sufficiency
    • Collective Validation
    • Transdisciplinarity
    • Resilient Networks
    • Reconciliation
  • Epilogue
    • Internal Freedom
    • Love Letter To Computers
    • Towards a possible manifesto; proposing Arabfuturism(s)
    • The Cost of Future Tense
    • Andromeda Report – Gliese 832 C Expedition
  • Appendix
    • Call for Participation
    • Attributions
    • Online Resources
    • License
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  1. Architectonics Of Power

Image, Identity, Attribution, Authorship

PreviousWhy I Refused My Proprietary SelfNextThe Burden of Journalism

Last updated 5 years ago

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We can say that a photographer owns her images, in the same way that an author owns her words. (The shorthand for this ownership is copyright.)

However, we should not conclude that the photographer has rights to her subjects, legally or morally, in the same way that an author has rights to her ideas. The reason that a photographer cannot make claims upon her subjects is that her work crosses that boundary between persons, and persons have their own rights which must be considered.

We are not so ignorant as to say that a photograph will steal our soul, and yet we are dimly aware of a danger in pictures of our faces or bodies, as if something can be taken from us, and get away, to who knows what end. We know there could be a “cost” to each photograph that is taken.

Photography did not always enjoy the protections of copyright. The argument went that manipulating a machine (in this case, a camera), did not count as a creative act.

Eventually, the question of whether making a photograph rose to the level of authorship was settled by the courts, in the affirmative. Photographers are the authors of their creations and thus own the copyright.

That photographs are protected by copyright also means that a photographer is free to release her work under a free license that allows others to use, reproduce, modify, and learn from her creations. The minimal requirement to re-use a freely licensed photograph is the simple gesture of giving credit or attribution to the photographer, in the manner she specifies.

Free licenses apply to a photographer’s rights as an author, and your rights as a user. However, they are silent on the legal and moral rights of the subjects of our photographs, which we might understand as the right of publicity.

In order to secure this additional right, the photographer must ask something of her subject.

The subject must consent not only to the photographer’s use of his image, and to others’ re-use and modifications of his image; he must also permit his name and identity to be associated with his image. That is the “cost” of the “freedom” of his picture. He lets a fragment of his soul escape out into the world, forever.

Christopher Adams