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Much has already been written about the changes to copyright contained in the Enterprise and Regulatory Reform Act 2013, but you haven’t heard the half of it yet. EPUK moderator Tony Sleep takes time out from filling in Costa Coffee job applications to explain…

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If someone parks a tank on your lawn, you probably need to consider whether they’ve just come to help with the gardening or not. Tony Sleep examines the copyright provisions of the Enterprise and Regulatory Reform Bill 2013 which became law last month.

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This year’s announcement of the winners of two major competitions for photojournalists, World Press Photo and Pictures of the Year International, created more than the usual fire storm. Raking through the ashes, Graham Harrison looks for a way forward, and reveals how one major grants programme for photojournalists had no restrictions on image manipulation at all.

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The anonymous publication of a spreadsheet showing the recently announced 10% decrease in photographers’ commission by stock library Alamy is, in real terms, a cut of 17% has caused consternation at Alamy HQ.

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Emma Peios, digital pioneer with an eye for colour and design died of leukemia in June. Paul Debois remembers a skilled practitioner with a mischievous sense of humour.

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As the world watches G4S attempt to protect the London Olympics David Hoffman worries that with its history of arrogance and mismanagement the security giant’s presence might sink photographers’ hopes of working freely during the biggest sporting event in the UK since the 66 World Cup.

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Irish Tinkers – Janine Wiedel, 1970s

Photographer since 1968. EPUK member since 2000

Find out more about this photograph here
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Martin Jenkinson, London born photographer, trade unionist and founding member of EPUK with a sympathetic eye for the Northern working traditions has died at the age of 64.

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When latex fashion designers House of Harlot refused to pay for a copyright infringement Bath fetish photographer Emma Delves-Broughton took them to the Patents County Court in London and won.

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Living in the digital age has meant an unprecedented exploitation of photographs writes David Hoffman