Sunday, June 23, 2013

Public photography is not a crime



Police officers tackle and detain a National Post photographer while he was photographing protesters demonstrating against the G8/G20 summits June 26, 2010 in Toronto, Canada. Photo: Scott Olson/Getty Images

Via o.canada.com

PEN Canada responds to a series of arrests and other police actions aimed at deterring photography in public spaces


The June 2, 2013 arrest of Toronto Star photographer Alex Consiglio for trespassing in a Toronto railway station is the latest in a series of events that has PEN Canada’s National Affairs Committee concerned about the interpretation of certain Charter rights pertaining to public photography and filming.

In particular, we wish to state that it is not a criminal offence for individuals to photograph or film police officers as they go about their duties, and that police officers are not allowed to confiscate a person’s camera or recording equipment (including phones), force them to delete images, or otherwise prevent them from taking photographs or filming in public places. We also wish to clarify the law when it comes to taking pictures or filming on private property that is open to the public.

We are especially concerned about the way recent trends in enforcement of non-existent prohibitions on photography and filming are affecting members of the press.

This document is not intended to be an exhaustive examination of all laws as they pertain to photography and filming. The issue is complicated and depends to some extent on laws that vary from province to province and municipality to municipality.

Subject to certain very limited constraints, it is not a crime in Canada for anyone to do any of the following things, and it is a violation of their Charter rights to prevent anyone from doing so:
  • photographing or filming in any public place, or in any private place to which the public is admitted, and publishing those pictures and films,
  • taking pictures of or filming in any government site other than “restricted access areas”*
  • photographing or filming police officers in public, as long as the photographer/filmmaker does not obstruct or interfere with the execution of police duties. While everyone has a reasonable expectation of privacy in certain circumstances, police officers have no reasonable expectation of privacy as they go about their duties.
A police officer does not have the right to confiscate cameras or recording equipment (including phones), unless the person in possession of such equipment is under arrest and such equipment is necessarily relevant to the alleged offence. A police officer cannot force anyone to show, unlock or decrypt cameras or recording equipment, or to delete images, even when that person is under arrest, unless the police officer has a warrant or a court order permitting him to do so.

At no time, and under no circumstances, is anyone in Canada subject to arrest for the simple act of taking a photograph or filming, although he or she can be arrested if he or she is breaking another law in the process, such as, for example, trespassing or breaking or entering.

Other laws and legislation, including the Criminal Code, the Copyright Act, the Security of Information Act, the Youth Criminal Justice Act, and the Personal Information Protection and Electronic Documents Act, the Personal Information Protection and Electronic Documents Act (PIPEDA), must be obeyed while taking or publishing pictures.

Statement

PEN Canada affirms that the rights of people to make photographs and films in public places and in private places open to the public, and publish them, are hallmarks of a transparent democracy, and that arbitrary restrictions upon photography and filming or on the publication of photographs and films is a characteristic common to repressive governments.

The rights of people to make and publish photographs and films in public places, and in private places open to the public, are hallmarks of a transparent democracy.

Not only do all people in Canada have the right to make images and publish them, but in the age of ubiquitous photography, amateur photographs and films are proving to be an important tool in fighting crime – including crime committed under colour of authority.

We also affirm the value of photography and film in securing law enforcement officers from false accusations.

This application has already been widely recognized by law enforcement departments across the country, and it’s partly for this reason that video dashcams are now standard issue in law enforcement vehicles.

History

In the past several years, many cases have come to light in which police officers sought to confiscate cameras and delete images, even though (a) they have no legal authority to do so and (b) this may actually constitute a crime in itself. The following incidents point out the need for all citizens to be informed of their rights, and for all law enforcement officers to be aware of those rights.

The most glaring example is the case of Robert Dziekanski, a Polish man who died after being tasered by RCMP officers at the Vancouver airport in 2007. Dziekanski’s tasering and subsequent collapse was filmed by Paul Pritchard, who surrendered the video to police with the understanding that they would return it to him in 48 hours. When they did not do so, Pritchard initiated a lawsuit against them. The video was ultimately returned. Partly as a result of its existence, the RCMP eventually admitted that they had misled the public in several statements about the Dziekanski incident. They issued an official apology for their actions and agreed to a financial settlement with Dziekanski’s mother. All four officers involved were formally accused of having lied in notes and statements about what happened that day.
At no time, and under no circumstances, is anyone in Canada subject to arrest for the simple act of taking a photograph or filming
Without the existence of the Pritchard video, it is certain that the outcome of the investigation would have been different.

Last year, lawyer Karen Selick published an opinion piece in the National Post concerning an incident at the home of one of her clients. During the incident, police confiscated numerous cell phones, deleted images, and made threats of arrest to various people for photographing police activity. Selick contends that the behavior of the police was not only out of bounds but was also criminal.

Most recently, on June 2, 2013, Alex Consiglio, a Toronto Star photographer, was arrested at Toronto’s Union Station, put into a headlock by a police officer, and ticketed for trespassing. This came after Consiglio had been asked at least twice to stop taking pictures, including pictures of police officers, and to leave the premises.

Consiglio’s case is significant because photography on private property that is open to the public is not an offence and is not civilly actionable unless posted signs specifically prohibit it, or photographers are informed by security guards, owners, or other personnel that they may not take photographs. The owner of Union Station, the City of Toronto, apparently stipulates that members of the public are free to take photographs at any time, but members of the press must first sign a liability waiver. In the opinion of PEN Canada, this requirement for a waiver creates a stifling effect upon the ability of members of the press to do their work effectively, and the requirement should be rescinded by the owner of Union Station.

In the past three years there have been four other incidents that PEN believes are worthy of examination:
  • National Post photographers Brett Gundlock and Colin O’Connor were arrested during the G20 protests that took place in Toronto in 2010. These protests were notable for the police tactics used in crowd control and dispersal, including mass arrests, the apparently random arrests of innocent onlookers and passers-by, and the controversial and now-discontinued practice of kettling. Gundlock and O’Connor were attacked by police while attempting to photograph aggressive crowd dispersal tactics.They were arrested and held in a temporary detention center for 24 hours, where they were strip-searched, denied water for 12 hours, fed almost nothing, and experienced the loss of some of their camera equipment. They were never accused of any crime. Instead, they were simply accused of being “amongst violent people”. Their camera equipment and press ID should have exempted them from any police attention whatsoever, and as soon as it became clear that they were members of the press, they should have been free to go about their business.
  • On March 26, 2013, a Montreal student named Jennifer Pawluck, 20, an active protester with no criminal record, discovered some graffiti depicting police spokesman Ian Lafrenière with a bullet hole in his head. She took a picture of the image and posted it on Instagram. On April 3, Pawluck was visited at her home by police officers and arrested without incident.She was charged with uttering threats against Lafrenière. In the warrant, it was stated that she gave Lafrenière cause to fear for his safety, and one of the conditions of Pawluck’s release was that she must not come within one kilometre of police headquarters or Lafrenière’s home. It is notable that Pawluck was never accused of having created the original image, only of taking a picture and distributing it. PEN Canada considers this to be a particularly egregious violation of the Charter right to self-expression.
  • In September of 2012, 16-year-old Jakub Markiewicz was detained by security guards and arrested by police after filming the violent takedown of a man by security guards at Metrotown shopping mall in Burnaby, B.C. Markiewicz was ordered by the guards to delete his footage, but since he was using a film camera, he could not comply. Although the guards were in their right to order Markiewicz to stop filming, they were not legally authorized to order him to delete the image or to destroy the film. After Markiewicz took a second picture of arriving RCMP officers, he was physically attacked and restrained by security guards. At their request he was then handcuffed by police and taken to an RCMP cruiser, where security guards again demanded he delete the photos. RCMP officers cut Markiewicz’s backpack off with a utility knife in order to search it, and Markiewicz was ultimately arrested for causing a disturbance. He was never officially charged.
  • A Niagara police officer is facing criminal charges of assaulting a photographer outside a bar in May of 2012. Constable Paul Zarafonitis allegedly assaulted Michael Farkas after Farkas refused to stop photographing police during an incident at the Kool Kats Caribbean Restaurant in Niagara Falls. Farkas suffered a broken nose, a fractured orbital socket, and a fractured cheekbone.

In The United States

While American federal and state law differ from Canadian law in many important respects, two incidents have taken place there that we believe are worth mentioning in this context.
After the terrorist bombings in Boston last April, citizen photography played a significant role in establishing the identity of the bombers
On May 14, 2012, the United States Department of Justice wrote a letter to the Baltimore Police Department asserting that the right of people to photograph and film police officers is protected by the First, Fourth, and Fifteenth Amendments to the Constitution. The DOJ also stated that the ability to photograph and film police officers does much to enhance the appearance of transparency of law enforcement organizations and is therefore a way of building public trust and goodwill. PEN Canada believes that the DOJ is entirely right in this assertion, and we wish to uphold and adopt it as our own.

After the terrorist bombings in Boston last April, as noted in this Washington Post article, citizen photography played a hugely important role in establishing the identity of the bombers. Investigators received hundreds of still and moving images from cell phones and handheld cameras that allowed them to piece together a timeline and ultimately to find images of the suspects, resulting in the death of one and the capture of another.

Often police officers seem willing to use violence to stop photographers, as if photography itself were a form of assault instead of a right.

We believe these instances offer additional evidence that public photography should ultimately make for a more transparent, open, and free society, provided standards of privacy and decency are adhered to. It also fosters a more law-abiding culture.

Analysis and Recommendations

The incidents mentioned above show that police officers are sometimes prepared to deprive people of the rights set out above in this memo. Neither photography nor filming in and of itself constitutes obstruction. Often police officers seem willing to use violence to stop photographers, as if photography itself were a form of assault instead of a right.

This state of affairs must not be allowed to continue in Canada. PEN Canada calls upon law enforcement officials to recognize that photographing and filming in public places is in the public interest, and to ensure that their personnel are familiar with the laws concerning public photography/filming and photography/filming of police officers. We encourage people to continue to exercise their right to take photographs and make films in public, to photograph or film actions committed by law enforcement that may be worthy of concern, and to publish these images public, secure in the knowledge that they are within their rights to do so.

* Examples as currently defined by the government of Canada include Operations Zones – areas where access is limited to personnel who work there and to properly-escorted visitors, which must be indicated by a recognizable perimeter and monitored periodically; Security Zones – areas to which access is limited to authorized personnel and to authorized and properly-escorted visitors, which must be indicated by a recognizable perimeter and monitored continuously; and High Security Zones – areas to access is limited to authorized, appropriately-screened personnel and authorized and properly-escorted visitors, which must be indicated by a perimeter, monitored continuously, and to which details of access are recorded and audited.

PEN Canada is a nonpartisan organization of writers that works with others to defend freedom of expression as a basic human right, at home and abroad. PEN Canada promotes literature, fights censorship, helps free persecuted writers from prison, and assists writers living in exile in Canada. Republished with permission.
© COPYRIGHT - POSTMEDIA NEWS

Friday, June 21, 2013

"There doesn’t seem to be any stopping Jeff Widener on his continued journey in making beautiful, real photographs"



Via Peta Pixel

A chat with Jeff Weidener, the photographer behind 'Tank Man,' a photo that is widely considered one of the iconic images of the 20th century.






JW: Basically it’s a lucky shot from being in the wrong place at the right time. I had been knocked silly the night before from a stray protestor brick that hit me in the face and the Nikon F3 Titanium camera absorbed the blow sparring my life. I was also suffering from a bad case of the flu during the whole Tiananmen story so I was pretty messed up. Our Asia photo editor had been in Beijing for weeks covering Mikhail Gorbachev’s high level meetings with Chinese leaders and was anxious to return to Tokyo but unfortunately the night before the massacre. That left AP Beijing photo editor Mark Avery, New Delhi based AP photographer Liu Heung Shing and myself to cover one of the biggest stories of the 20th century. After sneaking into the Beijing Hotel with the help of an American college student named Kirk Martsen, I managed to get one fairly sharp frame of Tank Man from the 5th floor balcony of the Beijing Hotel with an 800mm focal length lens. I had run out of film and Martsen managed to find a single roll of 100 ASA from a tourist. The problem was it was 100 speed and I usually used 800. This meant that when I was eyeballing the light, I was three stops too low on the Nikon FE2 auto shutter speed. It was a miracle that the picture came out at all. It wasn’t tack sharp but good enough to front almost every newspaper in the world the next day.
I never dreamed the image would turn into a cult thing. I guess the first time I realized I had something was when David Turnley of the Detroit Free Press told me that he thought I would win a Pulitzer for the image. As fate would have it, David won it that year and I was a finalist. It’s funny because I recall being in the middle of a Bangkok slum that year and around the corner came a familiar face. It was Pulitzer Prize winner Stan Grossfeld who I had previously met. His first words were “Widener…you was robbed”.

Monday, June 17, 2013

Stephen Wilkes Wins at PDN Photo Annual 2013



 

Via  Bernstein and Andriulli


Every year PDN recognizes the best in photography and this time Stephen Wilkes comes out as one of the big winners, picking up an award in three categories: Advertising, Personal, and Photojournalism. A team of judges representing publications like The Huffington Post, The New York Times and Fast Company went through thousands of entries to select the brightest for the 2013 Photo Annual.

Stephen Wilkes’ “Day to Night” photo series was honored in both the Advertising and Personal categories. Both images capture the city and seaside beauty of the mega metropolis Shanghai from the morning to the late evening hours. Stephen’s devastatingly revealing aerial photographs of the aftermath of Hurricane Sandy not only appeared in TIME Magazine, but also won recognition in PDN’s Photojournalism/Sports/Documentary category.


 
 
 
 
 

Sunday, June 9, 2013

Second Annual “Eddie Adams Day" Honors Pulitzer Prize-Winning Photographer



Bill Shirley | For The Valley News Dispatch
Retired Associated Press photo executive Hal Buell speaks to a crowd at the Eddie Adams Day dinner on Saturday, June 8, 2013, at the Clarion Hotel in New Kensington. Buell worked with Adams when Adams took his famous photo of an execution in the streets of Saigon in 1968. Here, he discusses another well-known photo from Vietnam of a napalmed girl running by photographer Nick Ut.


Via TribLive
Published: Sunday, June 9, 2013, 12:06 a.m.
                    
                                                                                                                                                                                                                                  
Getting a state historical marker for New Kensington native and Pulitzer Prize-winning photographer Eddie Adams has been an objective of the New Kensington Camera Club since its creation in 2011.
 
It's one the club hopes to realize about this time next year, club President Don Henderson said.
 
 
The club hosted festivities for its second annual “Eddie Adams Day” Saturday, beginning with a program and display of his photos at the Alle-Kiski Valley Heritage Museum in Tarentum and concluding with a dinner at the Clarion Hotel in New Kensington.
 
Adams' former editor, retired Associated Press photo executive Hal Buell, was the guest speaker for the dinner.
 
Inspired by Adams' “signature picture,” Buell spoke of “Pictures People Hate,” images that make people angry with the newspapers that publish them. He had the audience play the role of editor, deciding whether they would print images considered controversial.
 
Buell, 82, of Queens, New York City, retired from the AP in 1997. He said Adams did not like the photo for which he is best known.
 
“Eddie was an incredible photographer and a remarkable human being. His obsession in life was to make great pictures. He just wanted to be the world's best photographer,” Buell said. “He didn't like pictures that hurt people.”
 
The reaction to the photo was bad, Buell said, not because it was graphic, but because it showed what “bums” America's allies were in Vietnam, and brought into question how the nation got involved with a country that would carry out an execution on a street.
 
But Adams felt his own image portrayed the executioner, police chief Gen. Nguyen Ngoc Loan, badly. Earlier that day, Loan's aide and the aide's family had been assassinated by the Viet Cong, Buell said.
 
“For many years he wouldn't talk about the picture,” Buell said of Adams. “He felt the picture did not tell the whole story.”
 
Seeing no reason Adams shouldn't be honored with a historical marker, Henderson said only time has delayed it — a requirement for a person to be so recognized is that they be deceased at least 10 years.
 
Adams died Sept. 19, 2004, making him eligible beginning next year.
 
Proceeds from the Saturday events will go toward pursuit of the marker. Henderson said the club will apply for it in December. If approved, he hopes for a dedication ceremony including a street festival this time next year, which falls near Adams' birthday on June 12.
 
Because Adams had been a Marine, Henderson said it would be fitting for the marker to be located at the New Kensington war memorial on Ninth Street, across from Peoples Library.
 
Henderson said the club also hopes to have “Eddie Adams Day” made an official observance in New Kensington.
 
Brian C. Rittmeyer is a staff writer for Trib Total Media. He can be reached at 724-226-4701 or brittmeyer@tribweb.com.



On display
Twenty-one photographs by New Kensington native and Pulitzer Prize-winning photographer Eddie Adams are on display this month at the Alle-Kiski Valley Heritage Museum, 224 E. Seventh Ave. in Tarentum.
 
A $5 donation is suggested for those who are not members of the historical society.
 
The photos can be viewed from 11 a.m. to 3 p.m. June 12, 15, 19, 22 and by appointment. To schedule an appointment, call 724-224-7666.


Saturday, June 8, 2013

The Legacy of Civil Rights Leader Medgar Evers




Via The Newseum

By Dinah Douglas, assistant Web writer

WASHINGTON — On June 5, 2013, the Newseum hosted the panel discussion "The Legacy of Civil Rights Leader Medgar Evers." Evers was a civil rights icon who in 1954 became the first NAACP field secretary in Mississippi. Evers spearheaded demonstrations and boycotts of businesses that practiced racial discrimination and organized voter registrations for African Americans. He was assassinated in the driveway of his home 50 years ago on June 12, 1963.

Evers's widow, Myrlie Evers, headed a panel that included former NAACP chairman Julian Bond and Jerry Mitchell, a reporter for The Clarion-Ledger, whose work helped convict the man who assassinated Evers. Gwen Ifill, senior correspondent for "PBS NewsHour," moderated the discussion.
The event was one in a series related to a new exhibit at the Newseum titled "Make Some Noise: Students and the Civil Rights Movement," which will open Aug. 2, 2013. The exhibit coincides with the 50th anniversary of the March on Washington and will explore the new generation of student leaders in the early 1960s who fought systematic discrimination by exercising their First Amendment rights.



Saturday, June 1, 2013

Monday, May 27, 2013

Memorial Day, 2013

 
 
Steve Ruark—AP
Marines Capt. Daniel B. Bartle, front left case, Capt. Nathan R. McHone, back left case, Master Sgt. Travis W. Riddick, front center case, Cpl. Joseph D. Logan, back center case, Cpl. Kevin J. Reinhard, front right case, and Cpl. Jesse W. Stites, back right case, Jan. 23, 2012.


"With troops dying on distant battlefields in wars increasingly out of the public eye, photographs of the simple transfer ceremony on the tarmac at Dover offer all of us a chance to pause, to recognize men and women who were deserving of a future, and who gave what Abraham Lincoln called “the last full measure of devotion.” The dignified transfers are one step in a fallen service member’s long journey home. Viewing the photos and remembering the people inside those caskets can be one small part in our role as a grateful nation."


Full post with slideshow: Honoring the Fallen: One Photographer’s Witness to 490 Dignified Transfers



Via Time LightBox


Friday, May 24, 2013

1963




Fire hoses aimed at Demonstrators, Birmingham, Alabama, 1963
 Charles Moore, Fire Hoses Aimed at Demonstrators, Birmingham, 1963,
Gewlatin silver print, 11” x 14”


THE Magazine
June, 2013

The very time I thought I was lost/
My dungeon shook and my chains fell off
—African-American spiritual


 

In the preface to his 1953 novel Go Tell It on the Mountain, a poetic exploration of race and religion in the United States, James Baldwin made an important, if paradoxical proclamation: “I love America more than any other country in this world, and, exactly for this reason, I insist on the right to criticize her perpetually.” More than half a century after thethirty-one-year-old African-American writer released his book to a shifting American public, civil rights issues are still a vast and clumsy national topic.

Monroe Gallery’s current show of black and-white photographs is titled, simply enough, 1963, and covers that tumultuous year in American history with empathy and remarkable beauty. While human-rights concerns were gaining visibility in many parts of the country, changes must have felt imperceptible in many others, and the exhibition does a great job of visually encapsulating this disparity. Entering the space, one first sees photographs of Martin Luther King, Jr.—fitting enough, considering he delivered his “I Have a Dream” speech in 1963. An image of this iconic moment shows King at a podium, surrounded by listeners. Nearby,the picture Fire Hoses Aimed at Demonstrators, Birmingham, 1963, depicts three people being blasted with water from an unseen fireman during a protest in Alabama. The image is jarringly visceral and utterly captivating. In President John F. Kennedy Visiting Berlin, 1963, we see a gaggle of admirers clamoring around the figure of the president in a black car. JFK’sassassination would take place just five months later, a knowledge that, for the viewer, imbues the scene with an incredible poignancy. In a nearby photo, a barefoot Jackie Kennedy walks along the Palm Beach shoreline with her little son.

Undoubtedly, for most of us the show is a powerful history lesson. James Meredith, the first African-American to graduate from the infamously segregated University of Mississippi, is pictured surrounded by U.S. Marshals but his face retains a calm poise. A sobering handful of images memorialize the funeral of Medgar Evers, a pioneering and vocal advocate for African-American rights, who was shot and killed by a Ku Klux Klansman who wasn’t initially convicted of the crime. For the most part, the other half of the gallery space displays work that’s less politically and emotionally charged. A particularly lovely composition shows Steve McQueen and his wife relaxing in a hot tub, cigarettes and wine goblets in hand. The next photograph shows the be-sunglassed actor sitting on a sofa, holding a pistol. Next to this is a four-paneled composition of Sean Connery, posing with a sly grin and a gun. An image of Elizabeth Taylor as Cleopatra and a handful of photos of athletes like Arnold Palmer and Sandy Koufax round out this part of the show. These shots are no doubt meant to inject a little levity, but I thought the placement of images that either depict violence or else strongly suggest it, coupled with Hollywoodstyle showiness and triumphant moments in sports history, made for an incompatible and somewhat unpalatable juxtaposition.

In 1963, ten years after he spoke of his conflicted relationship with America, James Baldwin penned a letter to his teenage nephew, elaborating on what he called “my dispute with my country.” In it, he warns the boy that though people know better than to behave out of fear and hate, they often “find it very difficult to act on what they know.… To act is to be committed and to be committed is to be in danger.” Fifty years after this letter was written, it can still be said that the politicians who ostensibly represent us are afraid to be committed to a strong position when it comes to making decisions on issues like gun control and same-sex marriage. There’s a potentially squirmy reaction from photography lovers who walk into Monroe Gallery and expect foggy landscapes and nudes, and that’s one of the reasons 1963 is such an admirably courageous little exhibition. More than a show, this grouping of photographs is really a meditation on an era that isn’t completely in America’s rearview mirror. In 2013, being an American and loving America can feel downright paradoxical, and though we can’t always make amends for the wrongs committed by our nation in her past, the work in this show seems to quietly remind us that through learning and remembering, we can pave the way for a kinder future.

—Iris McLister