Don’t know the word? Neither did I until I searched for a way to describe the way fotoLibra contributors preferred to photograph people.
Tergiversation means the literal turning of the back — that is, the tendency of most photographers to photograph people from behind, primarily because they don’t wish to cause offence or go through the tedious hassle of obtaining model releases.
I ranted and railed against this — and I Was Wrong.
There. I’ve said it. I admit it, and I apologise.
But I hedge my apology with numerous sub-clauses and conditions, provisos and reservations. In normal life PLEASE photograph people so we can see their faces, and if you seriously want to sell people photographs in this litigious world, you must get a model release. It’s as simple as that.
So why do I now say I was wrong to forbid photographs of people’s backs?
For the simple reason that it’s rare today to find a novel that doesn’t feature a photograph of someone’s back view on the cover. Have a look at these recent publications:
What’s the reason for this? Well, fashion as much as anything. Book publishers are ovine in behaviour — as soon as one of them gets a bestseller, others stumble over themselves to mimic the success story as closely as possible. Clearly there was a recent bestseller with a haunted, lonely figure on the cover, so now everyone else has piled in on the act.
Please note that these are not simply photographs of people from the back. They are solitary, anguished, haunted folk, struggling with inner and outer demons. And another reason is that they probably don’t require model releases!
So more of these please. Not group shots, just wild, mournful, tragic heroines. And the odd hero, of course.
I secretly wish that on the back covers we could see the front view of the haunted, lonely figure.
Tergiversation, by the way, in case you’re as interested in words as I am, has a darker meaning: the action of ‘turning one’s back on’, i.e. forsaking, something in which one was previously engaged, interested, or concerned; desertion or abandonment of a cause, party, etc.; apostasy, renegation. Also an instance of this; an act of desertion or apostasy.
by Gwyn Headley
Every retailer knows that Price is King. People will always choose the cheapest option, and that’s perfectly understandable when it’s the same product.
If I see a litre of Famous Grouse for £20 in the Coöp, Sainsbury’s or Waitrose and there’s a litre of the Grouse for £15 in my local Londis, I’ll buy it there, thank you very much.
Of course there are exceptions. Louis Vuitton brand their luggage with a particularly plebeian design which is enthusiastically copied around the world. I imagine that less than 1% of the Louis Vuitton luggage you see is the real deal, unsurprisingly when the real bags are north of £5,000 and you can get a serviceable replica for £50. As my friend Jennifer says, Why pay less?
I have a friend who is so embarrassed by the big fat gold Rolex his wife bought him that he carries around the Watches of Switzerland receipt to prove to disbelieving friends that it’s real. We now have fun casting doubts on the authenticity of his receipt.
But images are different. You rarely see an image on fotoLibra which you can also see on Getty, Magnum, Corbis, Alamy etc., so comparing prices is much harder.
We’ll match or beat any price from any of the big picture libraries for the same usage and a similar deal. If you’re buying a photo from Getty Images for £10 it’s because you’ve agreed to buy 999 other images from them at the same price. We’ll happily match that. And you only need to commit to 99 images.
2017 has started well for fotoLibra. We’ve made a few big sales. But trickling on and on are the small purchases, people buying here and there for the same — always the same — reason: Editorial> Personal Use> One-Off.
The reason is that this is the cheapest easily discoverable price on fotoLibra. If you’re going to advertise your fizzy drink around the world, then you’d expect to pay big bucks to use one of our photographs. If you just want to print it off and stick it on your wall, then we’ve created a price just for you: Editorial> Personal Use> One-Off.
The snag is that some people will always choose the cheapest option they can find, even if it means not exactly telling the whole truth. So when they come across this bargain basement price they jump at it.
A year or so ago we saw a nice little earner. A lady had fallen in love with some of our photographs of English rivers. So much so that she bought 86 of them for herself; Editorial> Personal Use> One-Off. She put her address down as Interior Decorations Manager, Grande Hotel Splendide, Salford and paid with a corporate credit card. The Grande Hotel Splendide was just about to open an 86 bed hotel in Salford and we were struck by the coincidence.
We got in touch, and gently explained the situation, and to their credit the Grande Hotel Splendide forked out the correct price (which on a quantity deal wasn’t such a big difference).
The problem is that if we’re selling images online, we have to trust the buyer. Regular customers are no problem — they can download whatever they like and they account to us at the end of the month. But anyone can come along, register as a buyer, search the site for the cheapest price then buy a picture and walk away. It’s human nature, after all.
This doesn’t happen often enough to become a worry. But we’re aware of it, and we haven’t a clue how to police it. When it’s blatantly obvious then of course we’ll do some heavy chasing, but when M Zuckerberg of Dullsville, NE buys an image for $35 how do we know it’s NOT going to appear as a promotion for Facebook?
Oh — and a Happy New Year to you all!
That’s ‘Outage’, not ‘Outrage’. I’m outraged most of the time, so there’s no news there.
We’ve been informed by our data centre that they are having a problem which can only be solved by the complete replacement of a unit, rather than a repair. So they are beginning to follow the Volkswagen Franchises Dealer model of no longer being a garage, just a place that slots in replacement parts. They don’t repair things any more. I guess something might break down, and then they might get sued, so it’s all our fault really.
This is what our data centre tells us:
As you are aware it is our intention to entirely replace the unit which caused disruption to services this week. We have a plan in place that rather than work around a complete outage for all customers, instead a controlled migration of individual cabinets to new supplies will be conducted. This will reduce downtime for individual cabinets and allow engineers to respond to any individual issues should they arise.
Delivery and commissioning (including testing and verification) of the new device will take place over Wednesday/Thursday next week, with the migration of customer circuits to a clean supply occurring over the evening of Friday. Please note that these timings are approximate at this time and are still subject to change, however i wanted to give everyone a chance to have as much notice as possible prior to the work starting.
I will issue a further communication early next week confirming precise windows for the work to be completed in and also raise individual tickets with affected customers in order to arrange clean shutdown and restart procedures for devices.
Well, all that tells me is that there’s a vague chance we might be offline for a while late next week. fotoLibra hasn’t been affected by this problem as yet, and there’s no real reason to think we will, as we appear to be in a different sector, so this is just a heads up. If you come across fotoLibra behaving strangely, it should clear itself up within 24/48 hours.
Apologies in advance!
It’s hard to deal with real people. They smile, they laugh, they have fun, they have temper tantrums, they storm out of the room, they are unforgivably rude and then utterly contrite. They make no sense.
Sometimes they don’t do the work they’re employed to do. For no reason at all.
That’s why, when you send an email to, say, customer services or Support for a large organisation, you’ll get an email back almost the instant you click the Send button.
Now THAT’s customer service. No human involvement whatsoever.
fotoLibra only employs real people. It’s hell in here, folks.
Which is why we’ve always promised we will answer emails sent to Support within 24 hours (but give us a break at weekends).
Your support query will have been read by a human being and answered by a human being. If you haven’t heard back from us within 24 hours, there’s a simple reason: We Did Not Receive Your Email.
It happens. It happens more often than we would like. Just as letters used to go missing in the post, so emails can vanish into the ether. Sometimes it’s the fault of the spam checker at our email provider — which pulls out 400 junk emails a day from my account alone — and sometimes it just happens.
If you want to speed up our response time, put your Member ID in the subject line. (Hint: Sign in> Details> Member ID)
If you haven’t heard from us within 24 hours, send it again.
From one real person to another!
by Ella at Bob Books
The medium of photography has often become far too disposable, our pictures stored on digital platforms rather than in a format we can hold, pass around and display.
Bob Books was founded in order to solve the problem of the disappearance of this magical art form — allowing you to create your very own photo book. You can bring your memories to life: use your images and tell your story.
My favourite Bob Book this year, which won the Bob Books Photo Book of the Month competition in February, has got to be ‘Travels with My Father’ by Thomas North. Here, a son created a visual diary for his father of their travels to Australia and Japan. Their journey is moving and full of life as he captures both their surroundings and their bond, perfectly.
For the past 10 years Bob Books has established itself as the most well-loved and trusted platform for creating, printing and publishing photo books in the UK. Bob Books is used by countless professional and aspiring photographers, who understand that photographs can easily be transformed into keepsake objects with just a moment of inspiration.
As the UK’s top supplier of photographic paper photo books; our best-selling, lay-flat, photographic paper books are produced using a silver halide photographic process. Images are exposed onto 300gsm photographic paper and then developed through traditional chemical photographic processes. The pages are then bound using our unique lay-flat binding, displaying double page spreads at their best. Our product range includes hardback and paperback books and boasts a wide range of papers and finishes, all of the highest quality. We even offer logo-free printing for free.
Using the easy Bob designer software, PDF to book or simple drag-and-drop app for the iPad, Bob Books gives you the opportunity to make a customized, beautifully crafted photo book (suited to every design ability).
Once ordered, you can then choose for the book to be published in the Bob Bookshop, an exciting platform for people to share and sell their creations.
And now, Bob Books is offering a 15% discount to all fotoLibra customers!
Make the most of your collections of archival images or family photos and turn them into an object of beauty.
Wherever your passion lies, your pictures can tell a beautiful story.
Take advantage of this today by visiting www.bobbooks.co.uk/fotolibra to quickly claim your discount and get started!
Picture credits: Selection of Bob Books © Bob Books | Bob Books spread © Bob Books | Galloping horse © Paul Richards / fotoLibra | Palmyra, Syria © Paul Gapper / fotoLibra | Krak des Chevaliers © Bernard O’Kane / fotoLibra | African Fish Eagle in Flight © Linda Wright / fotoLibra
Gwyn writes: Bob Books is owned by an old friend of mine who works to the highest possible standards. Give them a go — you won’t regret it. And if the pictures illustrating this guest blog look familiar, it’s because they’ve been chosen from the fotoLibra archive.
by Gwyn Headley
When we ask fotoLibra contributors to rummage through their attics to find old photographs that can never be taken again, this is what we hope they’ll come up with. FOT3028 is just an average, everyday shot of a mass funeral in Hawai’i.
It was taken by the grandfather of our next-door neighbour in London. He was a travelling organ builder, and this was taken from his organ loft at the funeral.
But look carefully at the yellow circles. What he wasn’t to know, and which has only later been uncovered by posterity and diligent research, is that this is the only known photograph showing Elvis Presley and the Emperor Hirohito of Japan in the same picture!
What a find. This will rewrite history.
by Gwyn Headley
I’m London Welsh, fiercely proud of both Wales and London WGC*, but even I sometimes get the feeling that Great Britain Ltd pays a little bit too much attention to the Great Wen.
London Wasps play their rugby in Coventry, 100 miles from Charing Cross. When Yvonne was flying, she flew me into London Lydd, which is 80 miles from Charing Cross in the opposite direction. That is a BIG city.
Wouldn’t it be easier for all concerned if England was renamed London? Just a thought. After all, the rest of the world knows this sceptred isle as England, with not a thought for poor Wales or Scotland.
I was driving through Belgium last October when I heard a radio sports announcer previewing the forthcoming Belgium – England Davis Cup tennis tournament. I wondered how the Murray brothers would like that.
Where am I going with this? It’s the news that the Royal Photographical Society’s archive is to be moved, along with 400,000 other photography-related items, from the National Media Museum in Bradford to the V&A in London, to be replaced by a light show.
Whatever the merits or demerits of this move, we can be sure that the 400,000 objects out of the NMM’s 3 million strong collection being taken from Bradford will be the pick of the crop, leaving behind assorted knurled focussing knobs from a few old Thornton Pickards and a couple of Box Brownies.
When the NMM opened in 1983 it was called the National Museum of Photography, and it was hailed as a brave new initiative to devolve a part of Britain’s artistic heritage out of London. I worked with them on a number of projects, notably with Brian Coe and the Kodak Gallery (there’s a Harlech connection for you — Kodak’s first UK boss George Davison built his summer house in Harlech).
Now the best of the best is being shipped to London, which already has more and better museums, theatres, art galleries and entertainments than anywhere else in the world, leaving Bradford with a light show, an IMAX and a couple of curry houses.
As a proud Londoner, I say it’s simply not fair. We’ve got enough down here. Why do we have to have more? Make Bradford a destination for all photographers!
London’s got it all. It doesn’t need this. Bradford does need it. Please think again.
*World’s Greatest City
by Gwyn Headley
For over 40 years psychologist Merrill Elias and his team has been tracking the cognitive abilities of over 1,000 people in the north-eastern United States. The study basically observes the relationship between blood pressure and brain performance.
There have been seven waves of research so far, each one lasting five years, and in the sixth wave, 2001-06, Elias’s team decided to ask participants what they ate.
Researchers compared cognitive tests on participants who reported eating chocolate at least once a week with those who ate less.
The results were remarkable. The chocolate eaters had significantly superior visual-spatial memory and organisation, working memory, scanning and tracking, and abstract reasoning.
In other words, people who eat chocolate are better at multi-tasking, looking at things, remembering numbers and a host of other benefits.
“Our study definitely indicates the direction is that chocolate consumption affects cognitive ability,” says Elias.
It’s clear that if chocolate consumption enhances visual awareness, then photographers and picture editors should be bolting the stuff down.
We are well known in the picture business for handing out large bars of chocolate at trade fairs to picture editors in exchange for their business cards. It seems we were doing right all along.
Stand by therefore for the fotoLibra Enhanced Visual Perception Chocolate Bar, coming as soon as the highly qualified fotoLibra team has conducted extensive empirical research by scoffing as much chocolate as we can find.
by Gwyn Headley
Every invoice we send out for a picture sale contains the same wording: ‘Please send two voucher copies to fotoLibra at 22 Mount View Road’ and with a very few honourable exceptions it is routinely ignored. Of course we can’t enforce it; most of the time we’re more than happy just to have made the sale.
But a line has to be drawn somewhere. And this is it. We have been providing the images for the labels on a series of rather upmarket Scotch whiskies recently. Each whisky has been paired with a famous author. So far we have sold them images of Charles Dickens, Rudyard Kipling, Edgar Allan Poe, Mark Twain, Leo Tolstoy, Gustave Flaubert and Alexandre Dumas. But not Marcel Proust. I don’ t think Proust was much of a whisky drinker, more of a crème de menthe merchant.
Here’s one of the bottles with the fotoLibra image on the label:
And here’s what they have to say about this particular malt:
“This Authors’ Series is a range of limited edition and exclusive single malt whisky, created by the prestigious blenders and bottlers, Hunter Laing Ltd. Each whisky has been paired with a famous author, ensuring that the unique taste and character of the malt has been inspired by the author’s life and work. Charles Dickens, Rudyard Kipling & Edgar Allan Poe are the first three expressions that have been released.
“This particular expression is an Ardbeg 21 year old, matured in 1993 and bottled in January 2015. This limited edition whisky is one of only 120 bottles, which have been drawn from a Refill Hogshead cask, and bottled at natural cask strength of 56.4%. Ardbeg fans will not be disappointed, as this rich and peaty expression has all the typical Islay attributes, whilst the the character of Rupert Kipling shines through. Charles MacLean said: ‘Deep amber in colour with moderate beading. The first aroma is of lanolin and damp, untreated wool, even a hint of sheep dip, with roast chestnuts in the background. Oily and surprisingly sweet to taste, with fragrant woodsmoke in the aftertaste. Faintly waxy with a drop of water, backed by charred wood. Smooth and sweet, with hessian and washed out creosote.’
“Each bottle is presented in a brown leather box, embossed with gold medallic text, which adds to the luxurious feel of the product. The bottles are also individually wax sealed with a stylish monogram design.”
I’ve been sitting by the front door since January last year waiting for our two voucher copies to drop on to the mat, but bizarrely enough they have failed to materialise.
I think I may have discovered why. This particular whisky costs £900. Per Bottle! And it’s not even a litre! That’s €1,150, or $1,275. Blimey.
Because it’s not a whisky, it’s an Expression.