by Tim Gander

Goodwill Hunting

I’m thinking it would be too easy to write yet another tale of woe about a small business getting caught with unauthorised images on their website, and if you read my blog regularly you won’t need me banging on about copyright yet again so I won’t. Of course if you want to know more about this, read The Guardian consumer column which will enlighten you further.

Instead I’m going to tell you a new and surprising fact; Photography is more crucial to the promotion of business than it has ever been.

That I’m saying this isn’t perhaps all that surprising. What IS surprising is that it’s been said by John Owens in PR Week. If you’re a photographer, you might be peeling your eyebrows off the ceiling after reading that. Yes, an organ of the public relations industry is extolling the virtues of photography in brand awareness. I utterly commend the article as essential reading to all PRs who either don’t know, or who might need a reminder of the importance of good quality, engaging imagery for their campaigns.

Richard Noble of Bloodhound SSC project on the phone

Behind the scenes, un-staged photos (such as this one of Richard Noble of the Bloodhound SSC project) are championed by the PR Week article.

The piece even concludes with an immensely useful check list written by Matthew fearn, picture editor of The Daily Telegraph, for PRs wishing to get exposure in national newspapers, but which is also a perfect outline of good practice for PRs sending images to trade and local press too.

There are one or two points in the article where I would advise caution, as you would expect me to (knowing what a cynic I can be), but I think they’re worth a little extra consideration.

The author sites a couple of examples where big name brands have engaged the goodwill of their customers to help with social media campaigns on Facebook and Twitter. In one case Lego asked customers to send in creative images of their models for use in what was a highly successful Facebook campaign. Lego’s head of social media Lars Silberbauer says, “At Lego, we are at a stage where we would rather build a stage around our customers’ content than a campaign using fixed assets.”

I say, “Yuhuh I bet you would.” Fixed assets are expensive and customer-supplied content is free. I’m not actually saying brands shouldn’t do this, but it must be done in good faith and brands need to be aware that crowdsourcing can backfire.

In the case of Lego, where customers knew exactly how their images would be used, the campaign was a success. In the case where Instagram wanted to grab rights from its users for unspecified use, the exercise blew up in their face. I wonder how many times a brand loved even as much as Lego could use this exercise. People are increasingly aware of the commercialisation of their non-commercial photos, and while I don’t condemn crowd participation per se, I would urge brands to ensure their use of freely-offered images is circumscribed and boundaries are clear.

You might conclude I’m worried about the public taking PR work away from me, but that isn’t such a concern. As long as the public aren’t being taken for fools and brands play fair, I’m comfortable with this. Any business doing PR properly will have a range of different avenues for exposure, including social media and low-end imagery alongside higher-end imagery, press PR and advertising. It shouldn’t be treated as a one-or-the-other equation.

PR is vital to any business of any size. It’s bad PR to use other people’s images without permission, it can be good PR to ask for pictures if the deal is fair, and a good photographer with real newspaper training and experience can help you get exposure at a fraction of the cost of advertising. So go hunt goodwill, just don’t shoot Bambi’s mother in the process.

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 by Tim Gander

Reviewing a Gem

If you haven’t already seen my review of the Fuji X10 over on the Wex Photographic website I suggest you get there post-haste and read it without further delay. War and Peace it isn’t, but what you will get is a camera reviewed in working situations and which shows what the camera is capable of when you delve deeper than the auto settings. What I discover is that the X10 is a little gem.

Although I’ve only ever reviewed two cameras (the aforementioned X10 and the Canon G1 X) I can honestly say I enjoy the experience and of course Wex know I’d like to do more.

Test photo for Wex Photographic review of Fuji X10

One of my first shots with the X10, testing macro and low light abilities in one shot.

It’s one of those tasks which is kind of scary but also exciting; I know I have to deliver a coherent critique of a camera and I need to get it done within a reasonable period of time, while of course I enjoy getting to try out new equipment.

Wex give me the freedom to decide what images I take, but I’m always looking for pictures which don’t just show that a camera can take pretty snaps in Auto mode, but that it can be pushed and stretched (figuratively of course) to show what it can and can’t do. There’s no point me just stepping outside the office and taking pictures of buildings and pretty scenes. Any camera that can be called a camera can pretty much do that standing on its head, albeit the pictures will be upside down.

With the G1 X and X10 I wanted to see if the camera could take sellable pictures. In the case of the G1 X I sold a flood picture which I took on my first outing with the camera. With the X10 I used it on an assignment and mixed the results in with photos taken on my main camera as it proved very useful working in a situation where shutter noise would have been distracting. The client was happy, and it gave me another chance to show people what the camera could do in less than ideal conditions.

In both cases I tried the cameras out with my portable studio lighting, and both worked incredibly well. And although I don’t class myself a Street photographer, again both allowed me to have a go at this tricky genre and I was pleased with the results.

Wex already know I’m champing at the bit to have a go with the X10’s successor, the imaginatively-named X20, as soon as I can and of course I’ll publicise the article widely if/when that happens and of course you’ll read it, won’t you?

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 by Tim Gander

I’d rather be writing about something else

Here we go YET AGAIN! I’m starting to get just the tiniest bit annoyed* at attempts by government to destroy copyright law while claiming it’s progress.

This time it’s the Intellectual Property Office (IPO) showing a distinct lack of intellect on the issue.

Last time this was tried, back in 2010, we were at the cusp of a new government and the Digital Economy Act was being hammered out in Parliament. The clause of contention for photographers was Clause 43 which would have allowed the use of orphan works (photos whose author could not be traced) without the copyright holder’s permission.

Luckily for us, after intense lobbying by photographers, the Stop43 campaign and others, the Conservatives (then in opposition to the Labour government) agreed to pass the act only if clause 43 was removed.

Now it’s back, but this time it’s even worse and it’s now part of a bill, the Enterprise and Regulatory Reform Bill, which is unrelated to copyright and therefore fewer people are aware of its existence. Even worse, if passed as primary legislation any future changes to the act will be permissible as secondary legislation without the need of a return to Parliament. Didn’t I previously say democracy was being undermined?

Clauses 67-69 effectively strip the automatic right of copyright from anyone who creates a work including photographs. Within those three clauses you lose the right to control your images if they are found on the internet but not easily traceable to you, you lose the right to say whether or not a photo can be used in any given context and you lose the ability to negotiate your own fees should you decide to sell rights in your photo. In addition, the bill extends exceptions to copyright so more people can use your work, including commercially, with no need to ask permission first.

Of course this is a dire situation for photographers whose livelihoods are built on copyright, but it will affect anyone who takes a photo they wish only to be used in limited ways. Amateurs and professionals alike will be affected.

The clauses also ride roughshod over the rights of the subjects within photographs to decide the limits of use of their likeness. It breaches international copyright laws, though apparently the IPO don’t know enough about copyright to understand this. In short, it is an ill-conceived mess reminiscent of reforms to the NHS, education, just about anything ministers decide to change before they’ve properly considered the issues involved.

What professionals and amateurs need to do is lobby their MPs, lobby the Lords and make it clear these clauses do not belong in this bill. Copyright may well need reform, but it’s too big an issue to shuffle past our noses disguised within another bill, and these clauses are not the answer. If the question is how do we stimulate growth in the UK economy, the answer has to be better planned than this.

Further reading and guidance on how you can get involved:

http://thebppa.wordpress.com/2013/02/19/the-copyright-fight/

http://www.stop43.org.uk/ 

*My entry for Understatement of the Year Awards 2013

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 by Tim Gander

Horse Meat Found in Cheap Photography

I was listening to Billy Bragg being interviewed on the radio the other day and while he was never one of my favourite artists, he has always made a fair amount of sense. On this occasion he was even good enough to admit his voice was never his strong point. Perhaps the closest we’ll ever get to an apology for his vocal on Between the Wars.

During this interview Billy was talking about the state of the record industry and the difficulty young working-class singers and songwriters face when trying to get a big break because of the way the industry has changed. The interviewer suggested that surely the market would seek out the best talent, regardless of background, to which Bill replied, “You know what happens if we leave it to the market, you get horse meat in your burgers.”

The wider point Mr Bragg was making was that the record industry no longer has a filter in the form of the likes of John Peel who would have plucked an artist from obscurity on the basis of a few good songs regardless of background. Billy believes it’s often the privileged kids from public schools who get the break and as he put it are “clogging up the charts.”

This “class” issue is an interesting one affecting photojournalism, and has lead to a situation where photographers have to self-fund coverage of events, then hope to sell the images to publishers who can force prices down because as they see it the pictures have already been shot and the photographer will be grateful to claw back some of their costs, never mind make a living. Success is now more to do with whether you can fund your shoots rather than pure talent.

I rarely shoot editorial in the purest sense now. Newspapers rarely call me up to shoot assignments for them (my previous post explains where they get pictures from since the collapse of their budgets), though I still shoot PR pictures in a style to suit newspapers. I won’t fund assignments in the hope of selling something later. I do shoot personal projects and if I sell something from those that’s fine, but it’ll be at my own prices and on my own terms.

Horses racing the final furlong at Bath Racecourse

Is your corporate image a winner, or a Findus dinner?

In the corporate photography sector there is also downward pressure on prices, but I decided a couple of years ago, even in the grip of a deep recession, to set my rates and stick to them. I have to say I’m glad I did because when I see some of the work being churned out by photographers charging significantly less than me, I’m happy to boast that their clients are not getting what I offer. I don’t think I’m some David Bailey of the corporate photography world, but I know what I do well, I stick to doing it and I charge what I believe is a fair rate for the quality and service I offer.

I genuinely believe if a corporate client is only interested in getting the cheapest photography they can find, they won’t get anything worth having. Newspapers have already proved this theory. Their imagery is more horse meat than beef right now. Businesses wanting to avoid the Findus fate will invest properly in their images because people aren’t stupid. They can spot bull in photos and they don’t need a DNA test for that.

in Industry Comment 4 comments
 by Tim Gander

Democratising Photography is Killing Democracy – An Essay

Alongside “digital revolution”, the phrase “democratisation of photography” is one of the most irritating phrases to come out of the… um… digital revolution.

Both are self-serving expressions designed to suggest something unrelentingly positive and benign; a conjuror’s sleight of hand designed to distract us from the awkward realities they conceal. The digital revolution (or reduction of everything to digits) has plenty of winners and losers, a subject worthy of another article. Here I’m looking in particular at what “democratisation of photography” means and its consequences.

Democratisation of photography refers to the ubiquity of cameras and the relative ease of publishing or sharing images electronically. In the days of film it wasn’t that so few people took photos or that you needed a licence to own and use a camera, it’s just that now everyone has the ability to publish their photos where once this was the preserve of the professional. Photo-sharing has made public what once was hidden away in shoe boxes in the attic.

While it’s true that publishing a photo is easier than ever, is this democracy? I mean, REAL democracy? Are peoples’ lives improved as a result? Will governments fall because the tools to publish are no longer confined to the photojournalist? I fear we may find we lose more than we gain in this exchange.

There was a time, not that long ago, when photographers of a very high calibre were employed in fairly high numbers by newspapers to take the majority of the images that were published. These men and women of Her Majesty’s Press would be out on the streets acting as the eyes and ears of journalists who were generally chained to their desks where they could stay warm in Winter, cool in Summer, drink coffee and write some nice words to go around the photos in the newspaper.

Much of what photographers covered was mundane and routine; Sunday church fetes, cheque presentations and mayoral visits, but also very often at the sharp end of things. Road traffic incidents, court hearings, sieges, house fires, reports of break-ins, covering the misdemeanors of government officials or those in charge of our children, all of life was visible to the press photographer’s lens, where it might not otherwise have been visible to wider society. And yes, sometimes a bit too much of life – the celebrity end got out of hand to say the least, but again that’s a separate article.

Photographers often found themselves at a tangent with officials of the state, having to educate police officers and court officials on the law surrounding the seizure of journalistic material or the right to take pictures from a public place, and often the photographer would win (and get the shot) because they’d been trained in these specific areas even when the officials they faced had not.

That era of scrutiny and resistance to mis-used power may well be over. The Bristol Evening Post has made all its photographers redundant. Not a single staff photographer any more. Much the same story has been repeated at titles all over the country and the network of dedicated, trained, experienced freelancers is dwindling as rates have dropped below levels enough to sustain a business. The training structures for photographers are falling away too.

Many of the photos you see in your local paper now are supplied via a PR agency or taken by readers and newspapers are happy to exploit as much free content as they can get their hands on. Unfortunately this has lead to a drop in the quality of local reporting. Many journalists only have enough hours in the day to sit and re-write (or copy and paste) press releases.

Local papers no longer battle on behalf of their readers or uncover the stories that used to help them sell. When newspapers rely on the public to submit pictures of events, sometimes scenes of crime or accidents, they’re effectively using untrained photojournalists (citizen journalists, another dreadful term) in situations where only trained professionals should be. Even at events as benign as the switching on of town Christmas illuminations there have been occasions when amateur photographers have been told to delete photos from their cameras or face arrest. Without the training to defend their rights, some comply.

How has all of this come about? Partly the general decline in newspaper readerships and thereby their advertising revenues, a decline which started long before the internet became the threat to newspapers that it is today. Executives could have invested in the future of newspapers, instead they insisted on unrealistic profit margins, only attainable by the stripping of assets and a decline in investment in journalism.

Newspaper executives believe their salvation lies in charging for online and dwindling print advertising, while not paying for the things that make people want to read their publications; good journalism reinforced with good photography.

What this coincidence of internet innovation and executive incompetence means is we no longer have the voice we had. It’s a mistake to believe online campaigns can take off where newspapers now fail. We need well-trained journalists, photographers and editors to distill the issues that affect our daily lives and this must start with regional papers, firstly because national newspapers often pick up on local stories, secondly because although we may currently still have some of the best writers and photographers in the world among our national press, there is no longer the training ground and career structure in the regions that will feed into the nationals in generations to come.

I very strongly believe that a lively press is the foundation of real democracy. I believe newspapers could regain some lost ground by investing in their online versions, which are by and large risible, but it’ll take a very courageous chief executive and a great deal of shareholder patience to succeed. Quality, in-depth news coverage requires real human resources and deep pockets. There is no way of doing it on the cheap.

It’s astonishing that in the light of the Leveson enquiry newspapers continue to under-invest in editorial staff. Training is vital to prevent future misadventures, yet many newspapers rely on unpaid interns to make up the shortfall in the newsroom. In terms of photojournalism there will be less scrutiny of those in public office and an increase in incidents of members of the public getting into trouble or hurt when they try to do a professional’s job.

Democracy isn’t cheap and it certainly means more than the ability to take and share photos. Let’s not be distracted with all the cool new stuff we can do while some of the necessary stuff that used to happen takes us into a future where real democracy is devalued, swept aside to make way for the digital revolution.

in Industry Comment 5 comments
 by Tim Gander

Have Camera, Will Travel

Each year I’ll find myself covering one or two long-distance photographic projects in multiple locations around England and Wales for clients who would rather book me and trust they’ll get consistent results than book a series of photographers with a mixture of styles and approaches and find the results are variable, and already this year I’ve popped over to Essex, Norfolk and up to the West Midlands for a client needing photos of care homes for the elderly.

Last year I travelled as far as Newcastle for a client needing images of scientific research, taking in Bristol, Warwick and Leeds on that particular tour. Throw in a few trips to London and that sums up a typical year’s jobs which are “off-patch.”

I quite enjoy traveling, seeing different places and meeting people from all over the country, but my first tour of this year became a bit of a challenge, especially when I found myself in a hotel just outside Birmingham, monitoring increasingly alarming weather forecasts foretelling of several inches of snow.

Police officer directs traffic in blizzard conditions in Bolton.

Still, I’d rather be a photographer than a policeman!

Indeed, it snowed so hard on the Thursday and Friday of that week that I had to book an extra night in my hotel because to try to travel home on the Friday night would have been folly. Drivers in Gloucester and Somerset were becoming trapped and I didn’t fancy joining them.

I had two sites to visit on the Friday, and while I managed to get to the morning one, it being a 10-minute walk down the road, I had to postpone the afternoon site until the following Monday, meaning yet another hotel booking and more miles to cover.

It’s all part of the job though. Even when the weather isn’t being a nuisance, logistics is part of the job of being a photographer; booking places to stay, making sure I set off in good time to make the appointments, adapting when things don’t go to plan, liaising with the client, and I have to say I get some satisfaction from the task of ultimately fulfilling the brief even when there are big challenges.

Ultimately, my job is to get the pictures the client needs with the minimum amount of fuss, and the pictures must fulfill the brief. They can’t be below-standard just because things don’t go smoothly, though last week’s exterior shots of the homes were a bit of a challenge, everything being carpeted in white. Still, it all looked very pretty.

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 by Tim Gander

Will Instagram go the way of the telegram?

Happy New Year! I wish all my readers the very best for 2013. And what subject gets the first post of this year? Instagram of course!

As many of you will be aware there was something of a kerfuffle over a change to Instagram’s change of terms and conditions, which strongly suggested they would acquire the rights to sell users’ images to advertisers without permission or payment.

It was obvious from the moment Facebook had a fumble down the back of the office sofa for spare change and found $1 bn to buy Instagram that things would not stay the same. They’ll want their money back, one way or another, and the easiest way to achieve that is to have the ability to sell all the free content that is pumped into Instagram every day, not to mention a colossal backlog of images already there. The biggest library of mini images in the world.

Forget about whether the average Instagram photo is sellable or not, when something is that popular the infinite monkey syndrome kicks in. Among all the of photos of people’s pets and cappuccinos will be the occasional, arresting photo that might sit very well with a corporate ad. Don’t worry about image size either. Used small on a website, many smartphone photos will be adequate, and when the photo has zero cost to the advertiser, believe me adequate is more than adequate.

What interested me more than the nature of the T&C changes was some people’s reactions to them, specifically the reactions from people who have the opinion that if you’re an amateur your photos don’t matter, and if you’re a professional, why are you putting photos on Instagram or even on the web at all? Which I find an astonishing position to take.

I quote from one commenter (Shoogly Peg; real name I presume) on the BBC News website:

“Where, exactly, will these advertisers use your images when advertising? Where most people go obviously. Yes, social media websites, where you can already see an adundance [sic] of faces. Unless you are a pro photographer, no need to get bothered. And if you are a pro, why are you using this app?”

I’ll explain why I use Instagram. It’s fun. As a professional, am I excluded from having fun? Shoogly’s view isn’t an isolated opinion though. Whenever this kind of issue has popped up in the past, there have been comments about how professional photographers shouldn’t use the web to promote themselves, or that if they do have the audacity to do so, they should fully expect their work to be copied and used without permission or payment.

derelict building exterior in Frome

Sorry for having fun. I should leave that to amateurs

Clearly this argument is a nonsense. I get a fair bit of work through having a website, and I use the web to deliver images to clients. Am I not allowed to show my work without it being stolen?

Back to Instagram and their T&Cs, after patronizing us all with a statement telling us Instagram were sorry we were all too stupid to understand a legal document and not to worry our pretty little heads about it, they do appear to have reigned things back somewhat. The question is, what will they do to make money if they can’t sell user content? I’m sure we’ll find out soon enough, but I’ve seen a few users empty or delete their accounts. I’m fairly certain Instagram won’t disappear, but I think it might lose much of its sparkle and will have to change into something it wasn’t intended to be if Facebook want to make money. Perhaps “the internet” is learning that you can have free or fun. Not both.

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 by Tim Gander

2012 in Pictures (well, mine anyway…)

This being the last blog post for 2012 it seemed like a good excuse to do a round-up of some of the photos I’ve taken for clients this year – one from each month except July for which I’m posting two images just because I have the power and I felt like it.

I would like to take this opportunity to thank all my clients without whom I wouldn’t be in business and I would very much like to thank all my blog readers for putting up with my drivel over the last 12 months and for being patient when I didn’t get time to post anything some weeks. I’m sure you were grateful for the breaks anyway.

I do hope you enjoy this selection of photos, have a very happy Christmas and New Year and I’ll see you again in January 2013.

Acting college student Tom England of Frome

January: Tom England of Frome poses for his acting college portrait

Snowplough operative with truck and shovel

February: Overnight snow meant a last-minute task taking pictures in Cirencester for Mitie’s snow-clearance service

Dr Vince Cable speaks at the BBSRC Innovator of the Year awards, London

March: Dr Vince Cable addresses an audience of scientists at a bio-science innovation awards event, London

Empty warehouse interior

April: Warehouse interior near Exeter, soon to be the distribution hub for a toy importer

Olympic torch relay handover at University of Bath

May: Olympic torch relay handover at University of Bath

School science experiment with big yellow flash of flame with pupils looking on

June: Whitstone School website and prospectus

Rugby Sevens team captains in Bath

July: Programme cover shot for the J P Morgan Rugby 7s final in Bath

Christmas tree in office setting

July: As you would expect in July I’m photographing Christmas trees in an office setting

Millennium Square, Bristol, Triathlon England sporting event

August: An Olympic event organised by Sport England in Bristol’s Millennium Square saw all weather from bright sunshine to torrential rain.

Abstract image of wire page binding on a roll

September: Abstract image for Corsham-based digital print company Orbit

Pumpkin soup in a bowl, with sparkler lit in an apple

October: Exciting new venture Local Morsels online food magazine launches with an Autumn edition featuring pumpkin soup and sparklers in apples

Farmer in his Somerset milking parlour with two milkers

November: Marksbury farmer Stephen Bendall uses a robotic milking system in his dairy. I just like this portrait which I took at the end of the session

Cheese-maker cuts a round of cheese at Frome Super Market

December: Tom Calver of Westcombe Dairy cuts unpasturised cheddar at Frome Christmas Super Market

in Reviews 4 comments
 by Tim Gander

Homeless Portrait

The other week I was taking public relations pictures for a hotel in Bath. Their staff were volunteering to help at a local soup kitchen for the homeless, and they wanted shots of the volunteers and organisers preparing to hand out the food. I was told by a volunteer from the local church that was involved, I should avoid taking pictures of any homeless people as it might upset them. I’ll be honest, I felt a little patronized as I think by now I know what to do in delicate situations, but I got on with arranging the shots I needed. It was so dark, it would have been impossible to take pictures without flash so I was only ever going to take pre-arranged photos. The PR photos went well, and I used a small portable lighting system to try to make things look brighter and more inviting, and as I finished I turned around to find a man going by the name Squirrel sitting behind me. He was hoping to have his photo taken too, so I included him in some shots. Then his girlfriend, Hayley, came over. All she wanted was a nice photo of her and Squirrel together, and it was a pleasure to oblige. I did ask if they would mind me blogging the photo and they were fine about it, so here it is. Squirrel and Hayley, eating out together.

“Squirrel” and Hayley, Bath soup kitchen.

in Case Studies 4 comments
 by Tim Gander

Merthyr, My Dear

The annual tradition of municipal Christmas light switching-on ceremonies has now been joined by a new yearly tradition, that of harassing people who take photos at the events.

This year’s winner of the PhotoScrooge Awards (TM) is Merthyr Tydfil County Borough Council, according to reports in Amateur Photographer, as freelance photographer Andrew Bartlett was approached by undercover security (council worker dressed as an Elf) while he was taking photos at their public event.

I won’t go into more detail of the story here as you can read all abaht it on the AP site, but here I want to look more closely at the statements subsequently issued by the council.

Part of the problem is that the council press office have issued a statement in which they say that anyone using a camera at council-run events should apply in advance for permission. That would include parents taking photos of their own children, which is clearly a nonsense and I’m sure the council will end up not requiring a form to be submitted in advance of any parent with a camera. Or anyone, for that matter.

The other problem is they say they have a close working relationship with amateurs who share their pictures with the council in return for a byline.

As reported by AP:

‘To clarify what seems to have been misrepresented and misunderstood on this issue, the Council, as a corporate parent takes a sensible approach that is intended to safeguard both the subjects and the photographers.

‘Indeed, this process has regularly enabled amateur photographers to work successfully with the Council at various events, where they have freely shared their photographs afterwards with the Council for promotional purposes, and – in return – the Council has credited the amateur photographer.’

I have no idea what a “corporate parent” is, but it sounds positively Orwellian. I’m glad Merthyr council isn’t my mum or dad. Seriously though, the council wants to put barriers up to professional photographers covering events by having them fill in paperwork in advance, which for most freelancers (as most photographers are now) simply isn’t practical, yet they’ll allow un-trained amateurs who probably lack even the most basic public liability insurance to snap away because the pictures are free for the council to use.

The council may think it’s a great way to save money, but this ignores the fact that paying photographers for a professional service puts money back into the local economy. Photographers are also shoppers. They also buy food and eat out locally. They buy Christmas presents in local shops and visit local attractions.

Quite apart from the complete nonsense of Merthyr Landfill council’s approach, they’ve taken a view on the value of photography which is an insult to the professionalism of many photographers and also damages the local economy. Quite a feat to hit so many birds with just one stone.

Christmas light switch-on, Frome, Somerset

At Frome’s switch-on this weekend there were plenty of people using cameras without harassment

in Industry Comment 6 comments