The Appeal of Relevant Topics for Essay Writing

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Animal Testing Proposal Essay - 1549 Words

Millions of animals are being unneedlessly tested on for cosmetics, even though there are plenty of alternatives available and most of the results are unreliable or not applicable to humans. Although the fight against animal testing has made huge progress recently, America has yet to stop this cruel practice and chooses to torture animals while other countries are making a stop to the testing (â€Å"Animal Testing 101†). Right now, millions of mice, rats, rabbits, primates, cats, dogs, and other animals are locked inside cold, barren cages in laboratories across the country. They languish in pain, ache with loneliness, and long to roam free and use their minds. Instead, all they can do is sit and wait in fear of the next terrifying and painful†¦show more content†¦The barbaric practice of animal testing has been happening since the 19th century, and cosmetics testing on animals has been around since the mid 1900’s, when a woman was injured by using mascara (Murnaghan, Animal Testing Timeline). The woman received burns on her eyes, and ultimately was blinded by her makeup. This incidence caused the Food and Drug Administration to pass the 1938 Federal Food, Drug and Cosmetics Act, which introduced testing cosmetics on animals to prevent injuries similar to this from happening (Murnaghan, Animal Testing Timeline). Much progress has been made to end this testing, gearing the world into the right direction of animal testing free procedures, though, not everyone is on board. The United States have yet to hop onto the train toward a free animal testing future. The United States continues to test on animals for cosmetics even though there are numerous ways to test, without using animals, that are more efficient and effective than animal testing. (3D tissue samples of corneas made from human cells can be used instead of using an animal organ when testing for cosmetics side effects.) What is worse than the United States still testing on animals, is that there is continued demand for even more animalShow MoreRelatedShould Animal Testing Be Ethical?1328 Words   |  6 PagesAnimal testing has been an important type of research in various science fields for many years, because it has been able to replicate the results of the research to positively affect humans. It has provided many cures to diseases a nd many basic products that are mass produced such as lotion, shampoo, sunscreen, etc. Adding on, animal testing is ethical since it follows many guidelines and restrictions made by numerous laws that protect animals from inhumane treatment. Although such testing can provideRead MoreThe Importance Of A Research On Bipolar Disorder1009 Words   |  5 Pagespresentation will be discussing the contributions non-human animal research has made to the field of psychology while focusing on developments in bipolar research. It will begin with an exploration of three research examples that used mice to make discoveries relevant to bipolar disorder. Then my presentation will acknowledge the ethical concerns behind non-human animal research. Next, my presentation will go into an analysis of non-human animal research by discussing its advantages and how valuable thisRead MoreEthics of Animal Testing754 Words   |  3 PagesEthics of Animal Testing For my paper I chose the topic of animal testing because I have always been very passionate for animals and against animal abuse. I have never believed in animal testing and that there were always other alternatives. I wanted to look further into and educate myself about what is being done about this and why it is an ethical issue. I have come up with an axiom to summarize this topic. Testing animals in research revolves around the relative or moral value of humans and animalsRead MoreAnimal Rights And The Ethical Treatment Of Animals1237 Words   |  5 PagesErasistratus of Alexandria to Galen, who is known as the creator of experimental physiology, animals have been test subjects in experiments for more than two thousand years (Day 35). Every year in the world as many as twenty-two million animals are used for scientific or medical purposes (Day 10). A variety of animals are experimented on, including rats, mice, rabbits, dogs, cats, and primates (Day 10). Those against animal research believe the tests are pointless (Day 10). They presume if the experimentsRead MoreEssay on Animal Testing1728 Words   |  7 Pagesâ€Å"twenty-five million and 30 million† animals are exploited in experiments; â€Å"half are only used through education† (Donna 7). â€Å"A 40% is applied in basic research, the 26% for drug development, a 20% are examined for products, and the 14% that is left is applied on education and miscellaneous† (Donna 5). The inhumane cruelty affects the innocent creatures. Animals should only be used for education, and research purposes. Therefore, regulations must increase on animal protection. Increasing policiesRead MoreThe Animal Welfare Act ( Awa )897 Words   |  4 Pages Some scientist argue animals often make better research subjects than humans. Certain scientists believe this because many animals have a shorter life cycle than humans. In the same manner that mice are one of the most used animals for medical research testing, they live for only two to three years. Scientist are able to study the effects of treatments or genetic manipulation over a whole lifespan and even across several generations. By doing this scientists are able to develop new medicine andRead MoreThe Food And Drug Administration1142 Words   |  5 Pagesthousand of proposals being addressed to you everyday. I also understand that the FDA is responsible for tests that use dogs, primates and other species as test subjects to meet legal safety requirements. (Navs.org) At the same time, I, and millions of other people believe that the laws on animal experimentation need to be reviewed. This is a topic that has been given a lot of attention for the past decade. Everyday, hundreds of news articles are written arguing about whether or not animal experimentationRead MoreThe Use Of Scientific Testing On Animals1503 Words   |  7 Pageshumans have used animals as means of learning more about the world. The first known vivisection was done by a Greek philosopher, Alcmaeon, in 450 B. C. E (â€Å"Animal Testing† NP). Since then, animals have had invasives tests performed on them, been killed, and been experimented on in the name of science or for profit. Some experiments are in order to demonstrate already known facts to students, others are to further medical knowledge, and some are to test drugs and cosmetics (â€Å"Animal Testing† NP). ScientificRead MoreThe Pros And Cons Of Animal Testing Cosmetics1499 Words   |  6 Pagesalone function. A current topic in which we are at battle with today is the case of testing cosmetic products on animals. Although many cosme tic companies believe that animal testing cosmetics is morally sound, I believe that not to be true because animal testing cosmetics negatively impacts the moral integrity of individuals and society as a whole. Typically, if you ask a person if they believe in animal testing cosmetics, they will say no since the majority of society’s morals point in this directionRead MoreIgnorance Vs. Intelligence : Animal Experimentation And Life Saving Medical Technology952 Words   |  4 PagesIgnorance v. Intelligence: Animal Experimentation and Life Saving Medical Technology The use of non-human animals in experiments in order to gain a further understanding of the functions of biological systems is known as animal experimentation. Medicine as it is known today would not exist without animal experimentation, also referred to as animal testing, animal research, and/or biomedical testing. Albert Sabin, who developed the Polio vaccine said, â€Å"Without animal research, polio would still be

The Slavery Of America And America - 1168 Words

In 1619, there was a Dutch ship that arrived in America to trade for food. But instead of an object, such as silk or wine, they were trading humans. These humans were Africans who were not treated as normal human beings, but as if they were just an object or animal. On their voyage over to America, all the slaves were crammed into the lower part of the ship. They were forbidden to move and had to remain lying down for the entire voyage. For those on the ship to be sure the slaves were not causing any trouble, the men on the ship had put chains on the large group of slaves or indentured servants, historians are unsure. If anyone had become ill on the journey, no one cared and they went would be sent overboard. Due to all of the†¦show more content†¦Before 1665, slavery was accepted. Slavery had previously existed in Africa as well as China, Egypt, and Greece. The enslaving of people was not as common as slavery, but it had been happening in South and Central America, as well as Mexico and the Caribbean. Because slavery had existed as well as enslaving people, those being enslaved were starting to rebel. The first recorded rebellion in America was in Gloucester, County, VA in 1663. Rebellions had already been happening in other countries. Abraham Lincoln gave a speech and he as usual used an anecdote to support his main idea. His speech was about slavery. His anecdote was about two priests, who were discussing some passages from the bible and one of the priests put a coin on the table because the coin was reiterating what the bible said. This was a warning to many people. The southern people had been living their life to make sure there was going to be slavery and some in the north did the same. Centuries later, slavery was all around, just as they hoped, but many slaves were not happy and began to protest. This lead to many rebellions. Between the years 1619 and 1865 there were over two hundred and fifty rebellions. The first recorded rebellion in British North America was in Gloucester County, Virginia, 1663. It was led by slaves and servants, who decided to flee to the woods. Because they

Review Of Go Phhonulum Review - 1125 Words

Go phonics curriculum review Part one : In level four first six lesson talk about r controlled vowel and the rest talk about l control vowels and Le control. For r control vowels the letter r controlled most always change the phonemes of the vowel. The vowel is followed by an L most always the vowel like a will change from short to the o sound. For the Le is mainly at the end in multi- syllables, words where the e is silent. For the letter y it is I friend so it will make the phoneme I or e. Then when teachers are teaching the lessons teacher need to make sure to use the advice from getting started like giving detail instruction. Also, check to make sure the student is holding their pencil correctly and form the letter from top to bottom†¦show more content†¦This lesson has also taught consonant sound with their 2 sound like c for /s/ or g for /j/. Also, unaccented syllables most always have the Schwa sound which causes the vowel say short /u/. I like when the teacher and the student do a read aloud about the far m and then exit into the creative writing step. For the creative writing step I like how the teacher is supposed to ask have any of you ever been to the farm. That is a neat way to get the student interested in subjects and make connections. This a great way to get students involved before reading a book or write a story, it also shows the student different view or experiences from their classmates about visiting a farm. Its an outstanding way to cause students to use their sensory and their emotional recall. Have the student write a few things they did or saw. Part three : Teacher should teach the creative writing proccess . In the text introduces a brief explanation on why is important. Creative writing is important to have students learn because it facilitates the student understand their own experience. It also facilitates the class get a deeper understanding of their peers experience and make connections. Creative write help teach the student basic skills and technique that will help gain student confidences and broaden their fundamentals and interest in writing. Creative writing makes the child used their brain by applying critical thinking. This helps the student enlarged their writing skills

Beowulf 7 Essay Example For Students

Beowulf 7 Essay Most people hear the word hero and think of the stereotypical individual with an incredible appearance, outlandish brawn, and a smile to die for. This is not always accurate; some of the most legendary heroes from Greek mythology take advantage of many other traits. Loyalty, craftiness, intelligence, and keen observational skills are needed to escalate a hero’s stature. In â€Å"name of book† reflects both heroes with assumed features and elevated characteristics of a true hero.Oddyse demonstrates a multitude of different skills that many other heroes do not poses. For example, â€Å"My name is Nohbdy: mother, father, and friends, everyone calls me Nohbdy,† said Odysseus to Polyphimus (IX. 366-367).This shows that Odysseus is a quick and inventive thinker. Many would not have been able to concoct such clever answer in an instant. As when Odysseus tells Telemachus â€Å"I must put all my mind to it, to see if we two by ourselves can take them on or if we should look round for help†(XVI. 280-283) These words exhibit Odysseus’ intelligence for observing perilous situations. Unlike Hercules who would have relied on brute strength and instinct to pommel the suitors. The abilities expressed by Odysseus are shown to be superior to the shallow barbaric traits of Hercules and other heroes in that he thinks before he acts. Physical strength is considered beautiful among the Greek culture. Odysseus strength far surpasses any other mortal as exhibited by Penelope’s bow test, â€Å"so effortlessly Odysseus in one motion strung the bow†(XXI.465-467.) With the ease of him stringing the bow compared to the inability of the suitors makes Odysseus seem super human. Through out The Odyssey he displays this overpowering force at various times. â€Å"Odysseus’ arrow hit him under the chin and pushed up to the feathers through his throat†(XXII.16-17.) In the battle with the suitors his power and brutal tendencies show through just like the warrior emerging. During that same battle he also reverts to his competitive self and will not diminish until victorious. Even though Odysseus has a brilliant intellect, his physical attributes allow him to excel. Odysseus fulfills his character by having positive characteristics that stand him alone and above many other legends. His corporal and mental statures help him arise to true heroism. The obstacles in his journeys tested many of the values he held dear. Odysseus embodies the ideals of Homeric Greeks aspired to, valor, loyalty, and intelligence. These make Odysseus such an alive character and no matter what century, so much like us.

The 411 On Copyright For Net Photos free essay sample

Essay, Research Paper Introduction Wow # 8211 ; who owns all these pretty images? Net Photog # 8217 ; s See me, experience me, touch me, pay me. Net Agencies Service with a chink of a mouse. Net Publishers All is just in love, war and publication. Net Users Free drive! Introduction If Francesca were alive today she could track her lover # 8217 ; s exposures from his home page alternatively of schlepping to the Piggly Wiggly to buy the latest National Geographic. Even if you are stuck in Peoria, [ 1 ] the household can garner around the cardinal board, open up your Happy Meals and view some of the Best Photography in the universe. You want images? Boy do we hold images, chink onto the Photo Net Index for a stock list of lensmans portfolios, galleries, and museums. Who owns the right of first publications to all these cool Internet exposure? This paper presents a sampling of sentiments and anticipations about the application of right of first publication jurisprudence to Net exposure in relation to modern-day lensmans ; stock exposure bureaus ; publishing houses ; and Net users. THE NET PHOTOG ENTREPRENEUR Internet Advantage Contemporary Photographers are making home pages to expose portfolios on the Net to publicize for occupations, learn new accomplishments, web with co-workers, and supply pleasance to the sing public. Stacy Rosenstock # 8217 ; s portfolio is an illustration of the first-class exposure art available for sing on the Net. Photographer/author/adventurer Philip Greenspun uses exposures to attach to text in Travels With Samantha Mr. Greenspun says that viewer response is one of the wagess for printing on the Net. [ 2 ] The Net is a alone medium for lensmans, offering one-on-one feedback from viewing audiences, fellow lensmans and critics on a graduated table non available from the typical art gallery or magazine locale. The graduated table is larger in footings of the figure of possible viewing audiences and the boarderless international screening audience who may take to shop. A computing machine understanding lensman may make a home page portfolio or seek show with one of the online galleries such as that Digital Wave Gallery, or that On Line Gallery. A lensman taking the Net as a show locale can besides utilize the net to larn about right of first publications. The American Society for media Photographers offers easy to read copyright information in the that Copyright Guide for Photographers. INFRINGEMENT ENFORCEMENT When a lensman discovers a exposure has been published without mandate, the lensman possibly able to procure an injunction, retrieve existent amendss and lost net incomes. [ 3 ] Mr. Weisgrau and Mr. Remer point out the legal advantage to composing a copyright notice on the exposure consisting of ( degree Celsius ) 1995 Artist # 8217 ; s Name. [ 4 ] That advantage is possible riddance of the guiltless infringer defence. [ 5 ] Innocent infringers may merely be apt for a just licensing fee. [ 6 ] An order to action an infringer the right of first publication holder must register the exposure. [ 7 ] In order to register the exposure, the lensman must possess the exposure. Traditionally this is non a job because the lensman would hold a negative, or a print or a slide or some touchable object as a exposure. If the lensman has scanned the exposure onto a place page or provided the exposure to a gallery so there would be no job if the lensman retains the original. See Philip Greenspun # 8217 ; s FAQ on exposure scanning. Similarly a Cadmium disc exposure would besides be touchable to register. However when a lensman uses a filmless camera this undertakings images straight onto a computing machine for real-time accommodation. [ 8 ] If a lensman were to upload this sort of exposure, some touchable print would still be required for enrollment. [ 9 ] The job of # 8220 ; arrested development # 8217 ; ` as it relates to photo # 8217 ; s on the Net will normally originate in the context of whether or non a exposure was # 8220 ; copied # 8217 ; ` by an infringer. [ 10 ] Certain passing graphicss like the type produced by Christo, have been the topic of contention in footings of the arrested development demand for right of first publication protection. [ 11 ] In the context of right of first publication protection for computing machine plans the Ninth Circuit held in MAI Systems Corp. v. Peak Computer Inc. , that # 8220 ; copying for intents of right of first publication jurisprudence occurs when a computing machine plan is transferred from a lasting storage device to a computing machine # 8217 ; s RAM [ random entree memory ] . # 8217 ; ` [ 12 ] The tribunal described arrested development as # 8220 ; sufficiently permanent or stable to allow [ them ] to be perceived, reproduced, or otherwise communicated for a period of more than transitory duration. # 8217 ; ` [ 13 ] This determination as it relates to photos on the cyberspace may be a practical job of cogent evidence. Net exposure, like Christo # 8217 ; s sculptures, may be here today, gone tomorrow. Consequently the job will be a whether a # 8220 ; copyright claimant will be able to supply a tribunal documental grounds of the copyrightable capable matter. # 8217 ; ` [ 14 ] INTERNATIONAL PROTECTION International right of first publication protection is of particular importance to Net photogs. The Berne Convention and the Universal Copyright Convention reference right of first publication in the international market. [ 15 ] Mr. Cinque outlines the three policies back uping copyright protection: incentive/dissemination ; morality/fairness ; natural jurisprudence. [ 16 ] Incentive/dissemination is the trade-off that society benefits from the work of originative creative persons while the creative person may harvest economic benefits. [ 17 ] Morality/fairness is the commercial facet of honoring the worker and penalizing unauthorised appropriations. [ 18 ] Natural jurisprudence embodies the construct that the writer owns her work and may make with it as she sees fit. [ 19 ] Sing these policies, Mr. Cinque argues that under the Berne Convention a right of first publication may be infringed when a work is copied or stored into a computing machine system because it is considered a reproduction. [ 20 ] The Berne Convention provides a lower limit of 25 old ages protection for photographic plants and member provinces may supply extra protection. [ 21 ] Mr. Cinque presents the instance for and against increasing planetary enforcement of copyright protections in the digital universe and concludes that international enforcement is necessary to go on to promote creative persons to portion work on-line. [ 22 ] ECONOMIC INCENTIVES Mr. Cinque # 8217 ; s position supports the widely held premise that artists require wide right of first publications with strong enforcement in order to actuate the production of new, copyrightable plants. The right of first publication act is aimed at protecting an artists # 8217 ; economic rights. [ 23 ] Economic theory is based on the construct that persons are # 8220 ; rational, profit-maximising creatures. # 8217 ; ` [ 24 ] But economic theory when applied to creative persons doesn # 8217 ; t explicate their full scope of motive. # 8220 ; [ I ] Ts would be hard to explicate why intelligent, presumptively rational people of all time become creative persons, a word more frequently associated with the adjectival # 8217 ; hungering # 8217 ; than with # 8216 ; wealthy. # 8217 ; ` [ 25 ] Net photogs appear generous with fellow internetters when it comes to non-commercial usage of exposure. On the other manus, no 1 likes person else doing money of their work. Photographer Philip Greenspun describes his defeat with unauthorised usage of his images in, The Somewhat Nasty Copyright Notice. As an creative person he non merely wants to acquire paid, but desires a certain quality degree for his exposure. On the other manus, Mr. Greenspun embraces the chumminess of # 8220 ; fellow internetters # 8217 ; ` by authorising redistribution of his text for non commercial intents and bespeaking a beginning ascription and hyperlink for exposures. Sharing Resource The chumminess among lensmans is farther evidenced by the wellhead of resources for lensmans on the Net. The Michigan Press Photographers Association brings lensmans together to portion information, as does the Atlanta Photo Journalism Seminar and legion other resources. One suggestion to help lensmans in protecting right of first publications and roll uping royalties is a centralised exposure bank. Mr. Franklin presents the instance for making a centralised service to licence exposures, collect and distribute royalties, and prosecute in license enforcement. [ 26 ] The centralised service would include a copyright notice and computing machine codification with the exposure in order to track usage. [ 27 ] A similar system was late established and is called United Image Royalties. [ 28 ] Employers A particular note to lensmans set uping home pages from work. Two writers warn of making plants utilizing an employer # 8217 ; s Internet connexion because work-related merchandises may be determined to be the belongings of the employer. [ 29 ] For illustration, Allen Rose, Ordinary Photographer is employed by the Fort Worth Star-Telegram. Mr. Rose # 8217 ; s hebdomadal exposure series is copyrighted to the newspaper. In a related affair, notice that Mr. Rose chose the location # 8220 ; originate # 8217 ; ` instead than something like # 8220 ; telestar # 8217 ; ` for his home page locater. Employees should be careful in taking web locaters so as to avoid hallmark jobs similar to MTV v. Curry, see Hallmarks Along the Infobahn. SK PHOTO AGENCIES Many lensmans use stock exposure bureaus to sell exposures. News magazines purchase a enormous sum of published exposures from stock bureaus. [ 30 ] For illustration in 1980 Time purchased 56.88 % of their published exposures from stock bureaus and free-lance lensmans. [ 31 ] A traditional stock exposure bureau publishes catalogues with thumbprint exposures which clients view and so buy camera ready prints. [ 32 ] Stock bureaus publicize exposures and besides negotiate licences in exchange for royalties. [ 33 ] See the SKPHOTO web site to larn about stock bureaus. One advantage of an online bureau may be the capacity to for clients to download exposures instantly. Another advantage to online bureaus may be enhanced research resources for turn uping the right sort of exposure among the 1000s in stock. Contract When a publishing house desires to buy a exposure from a stock bureau there may be several contractual agreements to weave through. These contract issues are determined by province jurisprudence where as right of first publication jurisprudence per Se is the topic of federal legislative acts. [ 34 ] Contracts may be between the topic and the lensman, the lensman and the stock bureau and possibly a digital rights agent. [ 35 ] Mr. Harrang states that a typical stock exposure bureau contract is a licence for # 8220 ; one edition only. # 8217 ; ` [ 36 ] The inquiry of what is # 8220 ; one edition # 8217 ; ` has been debated in the context of CD-ROM publications. In this context some argue that an ascent of the merchandise would be a 2nd edition necessitating a re-license fee. [ 37 ] Harring does non hold with this position and suggests that CD-ROM and online publishing houses can avoid the job with proper electronic licensing contracts. [ 38 ] An online stock bureau such as Corbis Media should be more familiar with structuring proper electronic rights contracts. [ 39 ] In footings of protecting right of first publications while exposing exposures online, Corbis puts a copyright notice in the upper left-hand corner of the exposure. [ 40 ] This right of first publication protects the digital file non the existent exposure which is copyrighted to the lensman. [ 41 ] PROTECTING COPYRIGHT WITH TECHNOLOGY Additionally, when a client desires to see a larger image of a exposure, the client chinks on the thumbprint exposure to entree the 6 ten 7 inch exposure. [ 42 ] To protect this right of first publication, Corbis adds a semitransparent water line on the image. [ 43 ] This method is non full-proof. CEO Doug Rowan admits that the water line could be eliminated by a proficient individual and they are working toward proficient betterment of the system. [ 44 ] Unlike other stock bureaus, Corbis online images are for prevue merely and are non for client downloading. [ 45 ] Net Publishers AND PHOTOJOURNALISTS In Copyright in the New World of Electronic Publishing, See lawyer William Strong reassures traditional publishing houses that copyright jurisprudence will non be eviscerated by the Net. Copyright is grounded in the Constitution and assures a fiscal inducement to writers and originative individuals. [ 46 ] Mr. Strong takes the place that in a traditional writer contract allowing # 8220 ; all right, rubric and involvement in and to the work, including right of first publication # 8217 ; ` grants a publishing house wide rights to print electronically. [ 47 ] NEW CONTRACTS FOR E-RIGHTS When a publishing house drafts new contracts, Mr. Strong recommends that to guarantee that a publishing house is acquiring the whole ball of wax that the contract should read # 8220 ; the sole licence to reproduce the work and administer it by all agencies and media now known or afterlife discovered, including, without restriction, print, microfilm, and electronic media every bit good as the right to expose and convey the work publically on-line. # 8217 ; ` [ 48 ] This sort of # 8220 ; all rights # 8217 ; ` dealing is non popular among lensmans and the American Society of Media Photographers ( AMSP ) . cautiousnesss lensmans to see restricting a licence by clip, geographic country or media type. [ 49 ] It is interesting to observe, that seemingly Mr. Strong did non subscribe such a contract with the publishing house of his article, the Journal of Electronic Publishing ( JEP ) ) . The copyright notice indicates that the writer, non JEP, controls the right of first publication, accordingly commercial publication is prohibited in print or electronic signifier without permission of the writer. The tenseness between a publishing house # 8217 ; s desire to licence all rights to a exposure, and a lensman # 8217 ; s concern about # 8220 ; giving off excessively much # 8217 ; ` may gum up dialogues on the electronic publication frontier. [ 50 ] Mr. Harrang suggests # 8220 ; dividing legitimate concerns about altering engineerings from simple angst about unfamiliar technologies. # 8217 ; ` [ 51 ] For illustration, an writer may hold to licence rights to a CD-ROM publication but hesitate to a licence for online webs because of # 8220 ; metered usage # 8217 ; ` inquiries. [ 52 ] A declaration to this job may be # 8220 ; by understanding to negociate a just royalty sum in the hereafter based on the bing rates. # 8217 ; ` [ 53 ] For illustration, Time Inc. is offering an addition in photographer # 8217 ; s twenty-four hours rate from $ 400 to $ 500 per twenty-four hours to counterbalance for electronic rights for assignment exposures. [ 54 ] Time besides offers a royalty option offering a basal fee of $ 75 per image plus a royalty rate that varies depending on a figure of factors including English vs. foreign linguistic communication distribution. [ 55 ] Footings are to be reviewed in one twelvemonth. [ 56 ] About half the lensmans have signed the new understandings and the staying free-lances will go on to negociate licences for each exposure. [ 57 ] Time uses the exposures in their online magazines and other merchandises. [ 58 ] There is no understanding among the Board members of the American Society of Media Photographers sing the Time electronics rights policy. [ 59 ] The value of the rights is difficult to measure but ASMP board member Roger Ressmeyer believes that, # 8220 ; at issue is the really endurance of free-lance picture taking into the following century. # 8217 ; ` [ 60 ] Veteran lensman Douglas Kirkland sums up the state of affairs good, # 8220 ; If there wasn # 8217 ; t a significant value in these rights, [ Time ] wouldn # 8217 ; t be inquiring for them. # 8217 ; ` [ 61 ] On the other terminal of the spectrum, publishing house Conde Nast has refused to pay any extra fees for electronic rights. [ 62 ] INTERPRETATION OF PRE INTERNET CONTRACTS With respect to pre-Internet contracts, Mr. Strong predicts that where a contract is soundless on the issue of electronic publication, the publishing house has the right to bring forth the full diary in any signifier including electronic. [ 63 ] Mr. Strong points to the Copyright Act, # 8220 ; in the absence of a written understanding the right of first publication proprietor of a part to a periodical will be deemed to hold given the periodical publishing house merely the right to reproduce the article as portion of the issue of the periodical in which it appears and any alteration of that periodical. # 8217 ; ` [ 64 ] Mr. Strong says, # 8220 ; While technically this is non relevant to an reading of an existent written contract, I believe it is just to state that the givens which the legislative act creates here would likely be applied by any tribunal forced to cope with a contract that was silent on the inquiry of electronic rights. # 8217 ; ` [ 65 ] The reading of old contracts and electronic rights is the topic of contention between lensmans and, TIME Inc. Recently, Time republished some Life screen exposure for a Cadmium digest. Time associate advocate Laury Frieber maintains that the company need non pay the lensmans a reuse fee. [ 66 ] Alternatively the company sent a missive stating, # 8220 ; While as a legal affair we are non obliged to do any extra payments to reproduce our screens, in the spirit of this undertaking we decided to do a payment to all non-staffers whose images graced Life # 8217 ; s cover. # 8217 ; ` [ 67 ] The missive was accompanied by a $ 30.00 cheque. [ 68 ] Ben Chapnick of the Black Star image bureau disagrees with Time # 8217 ; s reading of the licence which he says was for one clip usage. [ 69 ] Both Mr. Strong and Mr. Chapnick agree that judicial proceeding could take old ages. [ 70 ] And Mr. Chapnick predicts in the Time state of affairs, judicial proceeding could be every bit much as $ 500,000. # 8217 ; ` [ 71 ] In any event, says Mr. Strong, each publishing house can weigh the fiscal hazards of a copyright misdemeanor or breach of contract suit against the additions of electronic publication. [ 72 ] Of class an single lensman is improbable to hold the fiscal resources to litigate a jurisprudence suit. HOW ONE Publisher SEEKS TO PROTECT COPYRIGHTED WORKS Michael Rogers pull offing editor of Newsweek Interactive an online publication with Prodigy has integrated the exposure with the text instead than in separate files as a manner to battle copyright violation. [ 73 ] # 8220 ; That manner, users can # 8217 ; t export the images for other utilizations without particular package, # 8217 ; ` says Mr.Rogers. # 8217 ; ` [ 74 ] ALTERATION OF NEWS PHOTOS New online engineering makes it easier to redact and change exposure. Visit Digital Imaging lensmans and editors can larn new ways to better and alter exposure. But utilizing engineering to make art is one thing, utilizing it to sophisticate intelligence exposure is another. Copyright protection for computing machine art, including exposure is an emerging issue. [ 75 ] But whereas copyright protection for art exposure focuses on the value of the piece as art, the value of a intelligence exposure is accuracy. [ 76 ] The moralss of sophisticating intelligence exposures [ 77 ] is discussed on the Michigan Press Photographer # 8217 ; s Association ( MPPA ) place page. This treatment is about the LIFE magazine May, 1995 exposure of the Kent State shots wherein the exposure was altered from the original shooting by lensman, John Filo on May 4, 1970. The change eliminated a pole in the centre of the exposure. David Friend, Life # 8217 ; s Director of Photography says it was a done unbeknownst to the editors. MPPA member Brian Masck responds, stating that credibleness in the beginning of a exposure is critical to photojournalism. Whether or non photographer John Filo has a cause of action against LIFE for publishing the altered exposure may be an issue of whether the footings of the print licence were exceeded. [ 78 ] This type of change is distinguished from the traditional cropping and focus that a exposure editor might make because it is a alteration in the substance of the exposure. In the hereafter, lensmans are advised to safeguard against copyright violation by including in the licence the sum of digital use allowed. [ 79 ] However, right of first publication may non be the best or even the lone issue reg arding genuineness of intelligence exposure. [ 80 ] Again, the concatenation of contracts between publishing house, lensman, stock bureau and exposure topic may show legal issues such as false visible radiation or embezzlement. [ 81 ] The intelligence lensman is once more advised, to maintain original exposures to protect against actions like this and to be particularly careful if snaping with filmless cameras where a lensman will non possess a negative. [ 82 ] Change of intelligence exposures is non a new issue. But new right of first publication issues pop up in the context of online intelligence exposure change. On the one manus, changes can be # 8220 ; elusive pixel-by-pixel alterations # 8217 ; ` that are hard to observe. [ 83 ] This capacity makes it easy to steal online exposures in toto or in portion. [ 84 ] The job here is a lensman # 8217 ; s load of cogent evidence as it relates to the # 8220 ; ordinary perceiver # 8217 ; ` attack in turn outing significant similarity in an infringement action. [ 85 ] Photojournalism reviewer Ken Kobre examines The Long Tradition of Doctoring Photos. Mr. Kobre notes that a recent edition of The National Enquirer displayed a doctored exposure of a beat-up Nicole Brown Simpson. [ 86 ] The Enquirer noted in little type that the exposure was a diversion. [ 87 ] Rather than shying off from the engineering and the possible maltreatment of changing online intelligence exposures, Mr. Kobre believes that increased photographic entree aids in the find of truth. # 8220 ; Totalitarian governments have been more expert at controlling- and altering what people see exactly because those governments control their media. # 8221 ; [ 88 ] In the terminal, # 8220 ; The credibleness demanded of news media should go on to determine its utilizations of the computing machine # 8217 ; s capabilities. # 8217 ; ` [ 89 ] Internet Users Everyone agrees that Net Users, like most Americans, have small cognition of copyright jurisprudence. [ 90 ] Digital plants have some unique features which challenge right of first publication jurisprudence. [ 91 ] Three of those features include easiness of reproduction, transmittal, and change. [ 92 ] The Net allows for speedy reproduction and transmittal of plants as compared to traditional reproduction methods. [ 93 ] Modification of Net paperss may besides supply some challenges to a tribunal # 8217 ; s reading of # 8220 ; fixed. # 8217 ; ` [ 94 ] Poster AND DOWNLOADING PHOTOS With respect to reproduction, transmittal and change, some Net users behave as if all Net information is up for grabs whether or non the stuff is copyrighted and has a copyright notice. [ 95 ] Celebrity fan nine posters like the Brad Pitt Web Site are illustrations of users posting copyrighted exposures to the Net. This place page acknowledges that these exposures are copyrighted so # 8220 ; please be nice. # 8217 ; ` This recognition confirms the Samuelson and Glushko observation that # 8220 ; those who post information non authored by them on Internet bulletin boards or in electronic newssheets delivered by Internet sometimes do so with a conspicuous notice that it is being posted without copyright permission, thereby asseverating the posting # 8217 ; s position of an appropriate range of just use. # 8217 ; ` [ 96 ] Furthermore, # 8220 ; net users by and large regard it as just to download points from the bulletin board for one # 8217 ; s personal usage, and even to direct a transcript to a friend who might otherwise non see the point, it is considered bad manners ( or worse ) to redistribute more widely person else # 8217 ; s posting without its writer # 8217 ; s permission. # 8217 ; ` [ 97 ] It goes without stating that patroling user behavior as it relates to right of first publication is hard at best. [ 98 ] ONE PUBLISHER # 8217 ; S VIEW OF DOWNLOADING WORKS Recently Time posted Sports Illustrated swimwear issue exposure for personal downloading at the Pathfinder Website that ended up on one of the Supermodel web sites. Time # 8217 ; s legal caput Harry Johnston said # 8220 ; The limitation is that you can download these images for personal usage merely, but non for farther distribution. That would represent an infringement. # 8217 ; ` [ 99 ] # 8220 ; The thought of patroling every individual person who might go against person # 8217 ; s right of first publication has non existed for the last 30 old ages, with the coming of Photocopying and videotaping. It # 8217 ; s merely a fact of life with the technological agency we have of doing transcripts. You merely can # 8217 ; t catch them all, says Mr. Johnston. # 8217 ; ` [ 100 ] User liability for transcript right violation in a non commercial context is a disputed issued. [ 101 ] A user posting person else # 8217 ; s exposure to a bulletin board or a home page raises inquiries of which just usage proviso might be appropriate? Education, research, remark or unfavorable judgment? [ 102 ] Ms. O # 8217 ; Rourke predicts that users are conflicting where a bulletin board endorser forwards a papers to a big figure of non-subscribers. [ 103 ] But what about place pages? In this context other Net users link to the page. Is the activity of posting Brad Pitt exposure to a place page well different than uploading Playboy exposures to a bulletin board? [ 104 ] In the Playboy instance the tribunal found that a bulletin board operator # 8220 ; violated Playboy # 8217 ; s sole rights to expose and administer its photos. # 8217 ; ` [ 105 ] While place page writers are non bear downing a subscription fee like the bulletin board operator, they are offering unauthorised, copyrighted exposures for public show. In the context of the home page writer, the issue is non that person is doing money off the exposure, but that an single lensman could lose the market for a great exposure when person scans it into a home page for all the universe to entree. AN AGENCY VIEW OF Poster Jim Roehrig, president of Outline exposure bureau, takes the place that # 8220 ; unauthorised poster is a misdemeanor of the right of first publication holders # 8217 ; sole rights to administer and publically expose their work. # 8217 ; ` [ 106 ] Outline represents manner and famous person lensmans. Roehrig admits to being at a loss as to how to manage supermodels posters. [ 107 ] Right now Roehrig says, # 8220 ; I # 8217 ; m trusting that this is comparatively little use and won # 8217 ; t go a regular thing. # 8217 ; ` [ 108 ] THE USER # 8217 ; S RIGHT TO VIEW But what about Net user # 8217 ; s right to see and entree information. Copyright jurisprudence clearly protects the right of first publication holder. One of the ends of the National Information Infrastructure is free or low cost information. [ 109 ] The suggestions of the Green Paper drafted by the federal authorities # 8217 ; s Information Infrastructure Task Force are controversial. [ 110 ] See besides a Response to NII. Ms. Litman says that the bill of exchange recommendations would enthrone in copyrightowners # 8220 ; control of any reproduction or transmittal of their plants, and thendefines reproduction and transmittal to include any visual aspect, even afleeting one, of a protected work in any computing machine, and any transportation of thatwork to, from, or through any other computing machine, the Draft Report # 8217 ; srecommendations would heighten the sole rights in the right of first publication package sofar as to give the right of first publication proprietor the sole right to command reading, sing or listening to any work in digitized form. # 8217 ; `*ahref= # 8221 ; KB4_fn.html # fn111 # 8243 ; [ 111 ] And where are the rights of users? Litman quotes the study, # 8220 ; Users are non granted any affirmatory # 8216 ; rights # 8217 ; under the Copyright Act ; instead, copyright proprietor # 8217 ; s rights are limited by certain freedoms from user liability. # 8217 ; ` [ 112 ] Ms. Litman argues against any alteration in right of first publication jurisprudence that would enthrone right of first publication proprietors the right to command reading, sing or listening. [ 113 ] She says that under current right of first publication jurisprudence show is distinguished from reproduction which requires arrested development in a signifier which is # 8220 ; sufficiently permanent or stable to allow it to be perceived, reproduced, or otherwise communicated for a period of more than transitory duration. # 8217 ; ` [ 114 ] Ms. Litman believes reading a work into a computing machine # 8217 ; s memory # 8220 ; is excessively ephemeral to make a reproduction within the significance of subdivision 106 ( 1 ) # 8217 ; ` of the right of first publication act. [ 115 ] Ms. Litman inquiries the Report # 8217 ; s premise that enhanced right of first publication protection is in the public # 8217 ; s best involvement. [ 116 ] She says that because the right of first publication Torahs are essentialy written by right of first publication holders, those involvements are served by the jurisprudence, whereas the users neer get invited to the tabular array. [ 117 ] Litman suggests that Congress and the Copyright office are responsible for genuinely stand foring the public # 8217 ; s involvement and non simply comparing the public # 8217 ; s involvement with that of right of first publication holders. [ 118 ] She addresses the given that Godheads need to be bribed with promises of full control of their work by indicating to the world that electronic publications and writers are let go ofing their work on the Net right now, without any promise of protection. [ 119 ] As to the issue of scanning images into computing machines, writer David Loundy is emphasized in his position of right of first publication protection, # 8220 ; Images that are scanned are in misdemeanor of the original right of first publication holder # 8217 ; s rights, unless permission to administer the scanned image is obtained, # 8217 ; ` whether or non the image is farther distributed. [ 120 ] This position seems to be exactly Ms. Litman # 8217 ; s concern sing the protection of the user # 8217 ; s right to see. Of class scanning an image, extinguishing the right of first publication notice and administering the exposure is a affair of serious concern to right of first publication holders. [ 121 ] Decision Lone clip will state what Net users, Net photogs and Net publishing houses finally determine to be just usage. To province the issue compactly, # 8220 ; Fair usage is ever capable to interpretation. # 8217 ; ` [ 122 ] [ FNa J.D. Candidate 1996, Georgia State University School of Law. This paper was written as portion of Professor Patrick Wiseman s Summer, 1995 Law and the Internet category. Thank you to Chas Underwood for this debut into the picture taking universe and Jamey Rousey for proficient support and cocktails. Remarks, corrections and correspondence is welcome, delight reach the writer at Confederacy @ mindspring.com. 1 Gary Panetta, Changing Reality Gallery Walk, PEORIA JOURNAL STAR, April 24, 1994 2 Philip Greenspun, How I Got Rich A ; Famous ( or at least celebrated ) On the Internet, PHOTO DISTRICT NEWS, July, 1995 at 58. 3 Jonathan A. Franklin, Digital Image Reproduction, Distribution and Protection: Legal Remedies and Industry broad Alternatives, 10 SANTA CLARA COMPUTER A ; HIGH TECH. L.J. 347 ( 1994 ) 4 Richard Weisgrau A ; Michael Remer, Copyright Guide for Photographers. 5 Id. 6 Jonathan A. Franklin, Digital Image Reproduction, Distribution and Protection: Legal Remedies and Industry broad Alternatives, 10 SANTA CLARA COMPUTER A ; HIGH TECH. L.J. 347 ( 1994 ) 7 Weisgrau A ; Remer, Copyright Guide for Photographers, 8Sally Wiener Grotta and Daniel Grotta, What # 8217 ; s New In Filmless Cameras, PHOTO DISTRICT NEWS, 58, March 1995. 9 Don E. Tomlinson and Christopher R. Harris, Free-Lance Photojournalism in a Digital Universe: Copyright, Lanham Act and Droit Moral Considerations Plus a Sui Generis Solution, 45 FED. COMM. L.J. 1, 8 ( December, 1992 ) . 10Russ Versteeg, Jurimetric Copyright: Future Shock for the Visual Arts, 13 CARDOZO ARTS A ; ENT. L.J. 125 ( 1994 ) . 11 Id. 12 Id. at 133 ( citing 991 F.2d at 518 ( 9th Cir. 1993 ) ) . This essay presents the debatable relationship between right of first publication as it relates to computing machine determinations and the alone facets of the ocular humanistic disciplines. 13 Id. at 132. 14 Id. 15 Robert A. Cinque, Making Cyberspace Safe for Copyright: The Protection of Electronic Works in a Protocol to the Berne Convention, 18 FORDHAM INT # 8217 ; L L.J. 1258 ( 1995 ) 16 Id. 17 Id. 18 Id. 19 Id. 20 Id. ( mentioning Berne Convention, 17 U.S.C. sec 102 ( 1 ) ( 1988 A ; Supp. IV 1992 ) art. 9 ( 1 ) and MAI systems Corp. v. Peak Computer, 991 F.2d 511 ( 9th Cir. 1993 ) ) . 21 Robert A. Cinque, Making Cyberspace Safe for Copyright: The Protection of Electronic Works in a Protocol to the Berne Convention, 18 FORDHAM INT # 8217 ; L L.J. 1258 ( 1995 ) ( mentioning Berne Convention art 7 ( 6 ) . 22 Cinque # 8217 ; s note explores several complex countries of international copyright jurisprudence see Robert A. Cinque, Making Cyberspace Safe for Copyright: The Protection of Electronic Works in a Protocol to the Berne Convention, 18 FORDHAM INT # 8217 ; L L.J. 1258 ( 1995 ) . 23 Jennifer T. Olsson, Rights in Fine Art Photography: Through A Lens Darkly, 70 TEX. L. REV.,1489, 1500, ( May, 1992 ) . This article reviews all right art right of first publication and the Visual Artist Rights Act of 1990. 24 Id. at 1501. 25 Id. ( citing Linda J. Lacey, Of Bread and Roses and Copyrights, 1989 DUKE L.J. 1532, 1536-37. 26 Jonathan A. Franklin, Digital Image Reproduction, Distribution and Protection: Legal Remedies and Industry broad Alternatives, 10 SANTA CLARA COMPUTER A ; HIGH TECH. L.J. 347 ( 1994 ) . See besides Benjamin R. Seecof, Scaning Into the Future of Copyrightable Images: Computer-Based Image Processing Poses a Present Threat, 5 HIGH TECH. L.J. 371 ( 1990 ) . 27 Id. 28 David Walker, Consulting Firm Forms Copyright Clearinghouse, PHOTO DISTRICT NEWS, April, 1995 at 30. 29 Pamela Samuelson and Robert J. Glushko, Intellectual Property Rights for Digital Library and Hypertext, 6 HAV.J.L. A ; TECH. 237 ( 1993 ) 30 Don E. Tomlinson and Christopher R. Harris, Free-Lance Photojournalism in a Digital Universe: Copyright, Lanham Act and Droit Moral Considerations Plus a Sui Generis Solution, 45 FED. COMM. L.J. 1, 29 ( December, 1992 ) . 31 Id. 32 Jonathan A. Franklin, Digital Image Reproduction, Distribution and Protection: Legal Remedies and Industry broad Alternatives, 10 SANTA CLARA COMPUTER A ; HIGH TECH. L.J. 347 ( 1994 ) 33 Id. 34 Id. 35 Id. 36 Kevin J. Harrang, Licensing Issues Creating and Publishing Multimedia Software Products, 394 PLI/PAT 361 ( 1994 ) 37 Id. 38 Id. 39 David Walker, Continuum Opens All-Digital Stock Agency, PHOTO DISTRICT NEWS, March 1995 at 26. 40 Id. 41 Id. 42 Id. 43 Id. 44 Id. 45 Id. 46 William Strong, Copyright in the New World of Electronic Publishing, Journal of Electronic Publishing. Original paper presented at the workshop Electronic Publishing Issues II, June 18, 1994. 47 Id. 48 Id. 49 Richard Weisgray A ; Michael Remer, Copyright Guide for Photographers, 1991 50 Kevin J. Harrang, Licensing Issues Creating and Publishing Multimedia Software Products, 394 PLI/PAT 361 ( 1994 ) 51 Id. 52 Id. 53 Id. 54 David Walker and Nancy Madlin, Time Contributors Split on E-Rights, PHOTO DISTRICT NEWS, April, 1995 at 20. 55 Id. 56 Id. 57 Id. 58 Id. 59 Id. at 21. 60 Id. 61 Id. at 23. 62 Id. 63 William Strong, Copyright in the New World of Electronic Publishing, Journal of Electronic Publishing. Original paper presented at the workshop Electronic Publishing Issues II, June 18, 1994. 64 Id. 65 Id. 66 David Walker, Photogs Dispute Life Re-Use Rights for CD, PHOTO DISTRICT NEWS, March, 1995 at 30-31. 67 Id. 68 Id. 69 Id. 70 William Strong, Copyright in the New World of Electronic Publishing, Journal of Electronic Publishing. Original paper presented at the workshop Electronic Publishing Issues II, June 18, 1994. 71 Id. 72 William Strong, Copyright in the New World of Electronic Publishing, Journal of Electronic Publishing. Original paper presented at the workshop Electronic Publishing Issues II, June 18, 1994. 73 Newsweek Goes On Line, PHOTO DISTRICT NEWS, March, 1995 at 16. 74 Id. 75 See, Jonathan C. Jackson, Legal Aspects of Computer Art, 19 RUTGERS COMPUTER A ; TECH. L.J. 495 ( 1993 ) . 76 Don E. Tomlinson and Christopher R. Harris, Free-Lance Photojournalism in a Digital Universe: Copyright, Lanham Act and Droit Moral Considerations Plus a Sui Generis Solution, 45 FED. COMM. L.J. 1, 29 ( December, 1992 ) . 77 For a treatment of computing machine altered exposures and the civil wrong of false light invasion of privateness, See Jon Lawrence Dartley, Lost Horizons? : Tortious and Philosophic Deductions of Computer Imaging, 19 RUTGERS COMPUTER A ; TECH. L.J. 199 ( 1993 ) . 78 Don E. Tomlinson and Christopher R. Harris, Free-Lance Photojournalism in a Digital Universe: Copyright, Lanham Act and Droit Moral Considerations Plus a Sui Generis Solution, 45 Fed. Comm. L.J.1, 29 ( December, 1992 ) . 79 Id. at 30. 80 Id. 81 Id. at 31. 82 Id. at fn 6. 83 Benjamin R. Seecof, Scaning Into the Future of Copyrightable Images: Computer-Based Processing Poses Present Threat, 5 HIGH TECH. L.J. 371, ( Fall, 1990 ) . 84 Id. 85 Id. 86 Ken Kobre, The Long Tradition of Doctoring Photos, 87 Id. 88 Id. 89 Don E. Tomlinson and Christopher R. Harris, Free-Lance Photojournalism in a Digital Universe: Copyright, Lanham Act and Droit Moral Considerations Plus a Sui Generis Solution, 45 FED. COMM. L.J. 1, 29 ( December, 1992 ) . 90 Jessica Litman, The Exclusive Right to Read, 13 CARDOZO ARTS A ; ENT. L.J. 29 ( 1994 ) . See besides William Strong, Copyright in the New World of Electronic Publishing, Journal of Electronic Publishing. Original paper presented at the workshop Electronic Publishing Issues II, June 18, 1994. 91 Pamela Samuelson and Robert J. Glushko, Intellectual Property Rights for Digital Library and Hypertext, 6 HAV.J.L. A ; TECH. 237 ( 1993 ) . 92 Id. at 240. 93 Id. 94 Id. 95 Id. at 244. 96 Id. 97 Id. at 244 # 8211 ; 45. 98 Id. at 245. 99 Hal Stucker, The Download Dilemma: pirating Images from Cyberspace, PHOTO DISTRICT NEWS, July, 1995 at 54-55. 100 Id. 101 Maureen A. O # 8217 ; Rourke, Proprietary Rights in Digital Data, 41 FED. B. NEWS A ; J. 511 ( 1994 ) 102 Id. 103 Id. 104 Id. ( mentioning Playboy Enterprises, Inc. v. Frena, 839 F. Supp. 1552 ( M.D. Fla. 1993 ) 105 Id. 106 Hal Stucker, The Download Dilemma: pirating Images from Cyberspace, PHOTO DISTRICT NEWS, July, 1995 at 54-55. 107 Id. 108 Id. 109 Id. Maureen A. O # 8217 ; Rourke, Proprietary Rights in Digital Data, 41 FED. B. NEWS A ; J. 511 ( 1994 ) 110 Jessica Litman, The Exclusive Right to Read, 13 CARDOZO ARTS A ; ENT. L.J. 29 ( 1994 ) 111 Id. 112 Id. 113 Id. 114 Id. ( citing H.R. Rep. No. 1476 ) . 115 Jessica Litman, The Exclusive Right to Read, 13 CARDOZO ARTS A ; ENT. L.J. 29 ( 1994 ) 116 Id. 117 Id. 118 Id. 119 Id. For a treatment of pirated package see Andrew Grosso, The National Information Infrastructure, 41 FED.B.NEWS A ; J. 481 ( 1994 ) ( treatment the civil and condemnable punishments for copyright violation and the LaMacchia instance. 120 David J. Loundy, 3 ALB. L.J. SCI. A ; TECH. 79, 132 ( 1992-1993 ) . 121 Id. at 133. 122 Richard Weisgrau A ; Michael Remer, Copyright Guide for Photographers,