A Response to Snoop Dogg About Celebrity Photos

Not that I have any delusions about the reach of this blog, but for what it’s worth, here’s a pro-tip for celebrities everywhere about sharing photographs of yourselves on social media:  if you don’t own the rights in the image, don’t post it.

This keeps happening. A celebrity posts an image of himself, the photographer who owns the rights in the image sues for copyright infringement; and the celebrity gets an expensive lesson in the difference between publicity rights and copyrights. Most recently, Snoop Dogg, in response to a photographer suing fellow rapper Nas for posting a photo of himself on Instagram, complained, “Photographers shouldn’t own their photographs of celebrities.” In a video shared by PetaPixel, Snoop Dogg sums up his view as follows:

“When you take a picture of a n***a, that picture ain’t yours. That’s a mere likeness-type situation. You’re borrowing my likeness.”

I don’t expect Snoop to know that his opinion has been wrong as a matter of U.S. law since 1884 any more than I expect that he wants to hear me rap. But he put his finger directly on the confusion that persists—namely that the subject of a photograph (famous or otherwise) is not the author/owner of the photograph under copyright law.[1] Likenesses are subjects of publicity rights, which vary from state to state and primarily concerns uses of a likeness to imply that the subject endorses a message or product. Nothing to do with copyright.

Of course, I am not responding to Snoop Dogg because I think he’s about to lead a celebrity revolt to invalidate copyright protection for all photos of famous people (and I am sympathetic to anyone who has to deal with aggressive paparazzi). But I do think the biggest stars in the world should recognize that they are connected to, and beneficiaries of, a copyright ecosystem which includes a vast population of middle-class workers in every field.

Most celebrities are famous and wealthy because the work they produce is protected by copyright law, and while those protections apply (on paper) to all creators great and small, the reality is that most middle-class creators can barely afford to enforce their copyright rights. Photojournalism, whether of celebrities or any other subject, is a job, one mostly paid through licensing fees. When images are posted without permission on platforms like Instagram, this directly cuts into the photographer’s bottom line by diluting the value of the image, thereby, limiting the ability to charge licensing fees throughout the market.

Snoop Dogg and his contemporaries are old enough to remember a world before Instagram and the other multi-billion-dollar social platforms. They probably didn’t know much about copyright back then either, but they didn’t need to. Before social platforms, copyright boundaries were more commonly supported by mutual respect for the idea that, for instance, the photographer owns the rights to his images just like the singer/songwriter owns the rights to his music.

That was before Zuckerberg and Dorsey et al. invented a way for celebrities to promote themselves all day every day. And then, of course, that opportunity became necessity. Today, the celebrity gets to stoke the fire of notoriety at no monetary cost, the social platform makes a fortune from all that activity, and everyone wants to forget that the photographer plays a pivotal role in the mix—often a highly valuable role by capturing something rare.

Sometimes, the celebrity makes the photographer, and sometimes the photographer makes the celebrity. In the aforementioned 1884 Supreme Court decision affirming copyright protection for all photographs, photographer Napoleon Sarony was more famous than the subject in the photograph at issue—a young man who was not yet the Oscar Wilde.

Like rap artists, the best photographers synthesize the world we all see into expressions that say something distinctive beyond the mere facts of the world. It is those expressions which copyright protects, and the reason we use the word ecosystem in copyright advocacy is that we recognize the interdependence among various creators working in different media.

It’s bad enough when naïve teenagers post works without thinking and dilute a creator’s market value. But when it’s done by multimillionaire creators whose careers also depend on the copyright ecosystem, it is especially insulting. If you don’t own it, don’t post it. Or post away and face a lawsuit you deserve to lose.

[1] Notwithstanding a subject hiring a photographer and potentially owning the work under the WMFH doctrine.


Photo by: Cineberg

Decision in Photographer Jim Olive’s Case Confirms What We Already Knew

“Congress, however, barely considered the availability of state remedies for patent infringement and hence whether the States’ conduct might have amounted to a constitutional violation under the Fourteenth Amendment. It did hear a limited amount of testimony to the effect that the remedies available in some States were uncertain.

The primary point made by these witnesses, however, was not that state remedies were constitutionally inadequate, but rather that they were less convenient than federal remedies and might undermine the uniformity of patent law.”

– Opinion of the Court, Florida Prepaid v. College Savings Bank, Rehnquist J., June 23, 1999. –

Twenty-two years, almost to the day, after the opinion cited above was delivered by the U.S. Supreme Court, professional photographer Jim Olive was assured by the Texas Supreme Court that state remedies for intellectual property infringement are not merely “less convenient than federal remedies,” they are non-existent. Knowing that the University of Houston was immune to a claim of copyright infringement, Olive filed suit in state court arguing that the college’s unlicensed use of his aerial skyline photograph in 2012 was an illegal taking under both the U.S. and Texas State Constitutions.

As explained in detail in my Allen v. Cooper Revisited series of posts, the status quo holds that any state actor may infringe intellectual property with impunity due to the Supreme Court’s findings that the Eleventh Amendment bars suit of state entities in federal court. In the early 1990s, Congress passed three laws explicitly stating its intent to abrogate Eleventh Amendment immunity in suits for infringements of trademark, patent, and copyright; but by the end of that decade, those laws were gutted by the Supreme Court asserting the primacy of sovereign immunity. Coincidentally, the University of Houston happened to be the defendant in the 2000 case (Chavez) that finally affirmed the death of the copyright bill in that trio, the Copyright Remedy Clarification Act (CRCA).

What the Rehnquist quote cited above refers to is the fact that when Congress held hearings in the drafting of those IP remedy laws, the question was raised as to whether claimants might have adequate recourse under state law to remedy IP infringements. If so, it was argued by some parties that the grounds for abrogation of Eleventh Amendment immunity could be questionable as a constitutional matter. Among the remedies contemplated were takings claims, exactly as Olive has pursued under Section 5 of the Fourteenth Amendment, which bars both state and federal taking or destruction of property without due process. Further, the Texas State constitution contains an even more explicit takings clause.

The Problem with the Outcome in Olive’s Case

In a nutshell, the Texas Supreme Court decided that copyrights are not property—at least not in the sense that they can be subject to a takings claim the way real property or personal property can be. To consider IP theft a taking, as the court stated, relies upon holistically depriving the owner of his rights in the property at issue. Simply put, if the state appropriates your house without due process, it has taken both your physical property and all your rights associated with that property and has entirely deprived you of your ownership under the doctrine of takings.

But because the infringement of Olive’s photograph does not exhaustively deprive him of his copyrights in the image (e. g. the right to license to other parties), the Texas court held that copyrights are not properly a subject of his claim. As Kevin Madigan wrote in his excellent breakdown of this case for Copyright Alliance, “Unfortunately, the Texas Supreme Court confirmed that takings claims are bound to fail if a copyright owner retains any portion, no matter how small, of their bundle of rights. It’s difficult to imagine a scenario in which an instance of infringement would strip a copyright owner of all conceivable rights in a work, and therefore it would be impossible for a takings claim to succeed.”

The Rehnquist opinion in 1999 was naïve in kicking the questions of state remedies and due process down the road to see what happens. Moreover, as Justice Stevens articulated in his detailed dissent in the catalytic case (Seminole Tribe v. Florida) in this narrative, the Supreme Court probably got the Eleventh Amendment wrong. Stevens wrote, “There is a special irony in the fact that the error committed in the Chisolm majority [the case that precipitated the Eleventh Amendment] was its decision that this Court, rather than Congress, should define the scope of the sovereign immunity defense. That, of course, is precisely the same error the Court commits today.”

Certainly, it is hard to imagine that Congress’s intent in 1795 was to pass an amendment that would so thoroughly curtail its own power to write enforceable laws under Article I. Meanwhile, the Texas Supreme Court decision makes sense inasmuch as the existence of the IP clause in Article I implies that Section 5 of the Fourteenth Amendment refers to other forms of property.

Just as it is clearly a dubious venture to assert a copyright complaint in the form of a takings claim, it is a dubious proposal to assume that either the Framers or any Congress close to the founding imagined that it would be necessary to appeal to a future amendment in order to enforce a right explicitly established in Article I. To say nothing of the fact that the IP clause contains the only explicit declaration of a citizen’s right in the main body of the Constitution.

As Madigan argues in his post, the one silver lining in Jim Olive’s defeat in the Texas court is that it clearly proves that state remedies for IP infringement by state actors do not exist. Congress must, therefore, once again seek to abrogate immunity in these instances. No argument of justice can reasonably be made to the contrary.


Photo by: C5Media

Podcast: Photography, Art & Copyright with Eric O’Connell


In this episode, I talk to art and commercial photographer Eric O’Connell, who is also an associate professor of practice at Northern Arizona University. We talk about his work, about photography in general, his students, and of course copyright. O’Connell’s photo recently won Off the Clock 2021 Best in Show from American Photographic Artists (APA). Read interview here.

Visit Eric O’Connell’s website.

Leaning by chance that there were more than a few East Germans who had avidly adopted the American cowboy aesthetic, O’Connell began working in 2002 on a series of photographs and a short documentary film.

East German Cowboys series ©Eric O’Connell.

In response to the COVID-19 pandemic, O’Connell lived with his parents and did a series of photographs with them, including this one below, which won Off the Clock 2021 Best in Show from American Photographic Artists (APA) in June of 2021.

Pandemic series. ©Eric O’Connell

Contents

  • 2:06 – How do you describe or think about your work?
  • 4:37 – Visual anthropology
  • 6:25 – German Cowboys Series
  • 8:50 – Native Americans & Heavy Metal series
  • 12:28 – Reactions to the German Cowboys
  • 16:44 – Pandemic (parents) series
  • 25:12 – How has commercial work changed?
  • 30:06 – Conversations with students about rights to their work.
  • 32:46 – Richard Prince Instagram Show
  • 34:59 – What is a derivative work of a photograph?
  • 38:07 – How much do you follow rights issues?
  • 41:25 – Lars was right.
  • 42:53 – Do your students intent to become professionals?
  • 45:49 – The work that goes into photographs
  • 53:02 – Authorship in photography

Lens photo by Bushko