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Matteo Mauro

Domande su Comportamento Fotografo

Ciao, buonasera.
Il comportamento del tuo fotografo non è certo la quintessenza della professionalità, tuttavia, dal punto di vista giuridico si è comportato secondo norma di legge.
Partendo dal fatto che i file digitali sono assimilati ai negativi fisici, ne segue che:

1) E' corretto che gli originali vengano custoditi presso lo studio del fotografo, sempre nel rispetto delle norme sulla privacy (non puo' avvenire pubblicazione senza assenso).
2) E' corretto che il committente non pretenda la consegna incondizionata di tali originali, ma la richieda a fronte di un giusto compenso.
3) E' corretto che il fotografo non consegni gli originali "di default", ma dia la possibilita' di riscattare la quota di "proprieta'" del committente.
4) Conseguentemente, sono invece sbagliate le posizioni sia del committente che pretende la consegna su sola richiesta, come anche del fotografo che si rifiuti, ad ogni costo, di consegnarli.

Queste indicazioni valgono IN ASSENZA di ACCORDI espliciti sulla disponibilita' degli originali. Se esistono scritture di accordi interpersonali, valgono tali accordi.


Esiste una sentenza della Corte di Cassazione che si e' pronunciata in tal senso, con sentenza del 28/6/1980 n. 4094: la proprieta' dei negativi di ritratto e di cerimonie come matrimonio e simili e' del fotografo, e non del committente.

Suprema corte di Cassazione civile, sez I, 28/06/1980 n. 4094, reperibile - fra gli altri - in Giust. civ. Mass. 1980, fasc. 6. Foro it. 1980, I, 2121, Giust. civ. 1980, I, 2101, che recita: "Nell'ipotesi di ritratto fotografico eseguito su commissione, regolata dall'art. 98, I. 22 aprile 1941 n. 633 sul diritto d'autore, il committente, diversamente da quanto stabilito dall'art. 88 comma 3 di detta legge per le fotografie di cose in suo possesso, non acquista il diritto esclusivo di utilizzazione della fotografia, il quale rimane al fotografo, pur concorrendo con quello della persona fotografata o dei suoi aventi causa di pubblicare e riprodurre liberamente la fotografia medesima, salvo il pagamento al fotografo di un equo corrispettivo nel caso che la utilizzino commercialmente. Nell'ipotesi indicata, pertanto, ove manchi un diverso patto, deve ritenersi che il fotografo conserva la proprieta' del negativo e non e' tenuto a consegnarlo al committente."

Tuttavia, dato che il committente (o comunque le persone ritratte) conserva la facolta' di usare tali immagini (come determinato dall' art. 96 legge 633/41), ecco che esiste anche in capo a loro - cioe' al committente del ritratto - un diritto a usare tali originali.

Questo significa che gli originali del servizio ( ritratto, foto tessera, book, matrimonio, ecc ecc ) - in assenza di patti scritti - restano correttamente al fotografo (vedi sopra), il quale, tuttavia, su richiesta e dietro pagamento deve consegnare gli originali al committente che li voglia riscattare.

Dal canto suo, il committente NON ha titolo per pretendere tali originali (o i files) senza pagare un apposito e congruo compenso.

Saluti

Vincenzo
14.12.17, 21:34
Ciao, buonasera.
Il comportamento del tuo fotografo non è certo la quintessenza della professionalità, tuttavia, dal punto di vista giuridico si è comportato secondo norma di legge.
Partendo dal fatto che i file digitali sono assimilati ai negativi fisici, ne segue che:

1) E' corretto che gli originali vengano custoditi presso lo studio del fotografo, sempre nel rispetto delle norme sulla privacy (non puo' avvenire pubblicazione senza assenso).
2) E' corretto che il committente non pretenda la consegna incondizionata di tali originali, ma la richieda a fronte di un giusto compenso.
3) E' corretto che il fotografo non consegni gli originali "di default", ma dia la possibilita' di riscattare la quota di "proprieta'" del committente.
4) Conseguentemente, sono invece sbagliate le posizioni sia del committente che pretende la consegna su sola richiesta, come anche del fotografo che si rifiuti, ad ogni costo, di consegnarli.

Queste indicazioni valgono IN ASSENZA di ACCORDI espliciti sulla disponibilita' degli originali. Se esistono scritture di accordi interpersonali, valgono tali accordi.


Esiste una sentenza della Corte di Cassazione che si e' pronunciata in tal senso, con sentenza del 28/6/1980 n. 4094: la proprieta' dei negativi di ritratto e di cerimonie come matrimonio e simili e' del fotografo, e non del committente.

Suprema corte di Cassazione civile, sez I, 28/06/1980 n. 4094, reperibile - fra gli altri - in Giust. civ. Mass. 1980, fasc. 6. Foro it. 1980, I, 2121, Giust. civ. 1980, I, 2101, che recita: "Nell'ipotesi di ritratto fotografico eseguito su commissione, regolata dall'art. 98, I. 22 aprile 1941 n. 633 sul diritto d'autore, il committente, diversamente da quanto stabilito dall'art. 88 comma 3 di detta legge per le fotografie di cose in suo possesso, non acquista il diritto esclusivo di utilizzazione della fotografia, il quale rimane al fotografo, pur concorrendo con quello della persona fotografata o dei suoi aventi causa di pubblicare e riprodurre liberamente la fotografia medesima, salvo il pagamento al fotografo di un equo corrispettivo nel caso che la utilizzino commercialmente. Nell'ipotesi indicata, pertanto, ove manchi un diverso patto, deve ritenersi che il fotografo conserva la proprieta' del negativo e non e' tenuto a consegnarlo al committente."

Tuttavia, dato che il committente (o comunque le persone ritratte) conserva la facolta' di usare tali immagini (come determinato dall' art. 96 legge 633/41), ecco che esiste anche in capo a loro - cioe' al committente del ritratto - un diritto a usare tali originali.

Questo significa che gli originali del servizio ( ritratto, foto tessera, book, matrimonio, ecc ecc ) - in assenza di patti scritti - restano correttamente al fotografo (vedi sopra), il quale, tuttavia, su richiesta e dietro pagamento deve consegnare gli originali al committente che li voglia riscattare.

Dal canto suo, il committente NON ha titolo per pretendere tali originali (o i files) senza pagare un apposito e congruo compenso.

Saluti

Vincenzo
18,697 clicks
__GLM__

Canon to Nikon adapter

It depends on the kind of lenses that you have. You can use:
Rokinon T1.5 Cine Lens Kit for Canon EF-Mount. The lenses share a T-stop range of 1.5 to 22mm. The included lenses feature Canon EF lens mounts and cover full-frame sensors. Ultra Multi-Coating (UMC) on the lenses improves light transmission and adds resistance to ghosting and flares. Each lens includes a detachable lens hood.
Rokinon 24mm T1.5 Cine ED AS IF UMC Lens for Canon EF Mount. This lens is compatible with full-frame sensors and can also be used on APS-C-sized sensors, where the 35mm-equivalent focal length will be 38.4mm. The optical construction incorporates four extra-low dispersion elements, as well as two aspherical elements, to reduce chromatic aberration and distortion to produce sharper imagery. Additionally, a UMC coating has been applied to lens elements to minimize lens flare and ghosting for more contrast-rich images.
Rokinon 35mm T1.5 Cine AS UMC Lens for Canon EF Mount. This lens is compatible with full-frame sensors and can also be used on APS-C-sized sensors, where the 35mm-equivalent focal length will be 56mm. The optical construction incorporates two high refractive index elements and one aspherical element to reduce chromatic aberrations and distortion to produce sharper imagery. Additionally, a UMC coating has been applied to lens elements to minimize lens flare and ghosting for more contrast-rich images.
Rokinon 85mm T1.5 Cine Lens for Canon EF. The 85mm has a minimum focus distance of 3.6'. Internal focusing minimizes the effects of lens breathing, which insures a more consistent angle-of-view when adjusting focus. The lens is composed of 9 elements in 7 groups, including one aspherical element to reduce spherical aberrations. In addition, a multi-coated elements help improve light transmission.
13.08.17, 21:26
It depends on the kind of lenses that you have. You can use:
Rokinon T1.5 Cine Lens Kit for Canon EF-Mount. The lenses share a T-stop range of 1.5 to 22mm. The included lenses feature Canon EF lens mounts and cover full-frame sensors. Ultra Multi-Coating (UMC) on the lenses improves light transmission and adds resistance to ghosting and flares. Each lens includes a detachable lens hood.
Rokinon 24mm T1.5 Cine ED AS IF UMC Lens for Canon EF Mount. This lens is compatible with full-frame sensors and can also be used on APS-C-sized sensors, where the 35mm-equivalent focal length will be 38.4mm. The optical construction incorporates four extra-low dispersion elements, as well as two aspherical elements, to reduce chromatic aberration and distortion to produce sharper imagery. Additionally, a UMC coating has been applied to lens elements to minimize lens flare and ghosting for more contrast-rich images.
Rokinon 35mm T1.5 Cine AS UMC Lens for Canon EF Mount. This lens is compatible with full-frame sensors and can also be used on APS-C-sized sensors, where the 35mm-equivalent focal length will be 56mm. The optical construction incorporates two high refractive index elements and one aspherical element to reduce chromatic aberrations and distortion to produce sharper imagery. Additionally, a UMC coating has been applied to lens elements to minimize lens flare and ghosting for more contrast-rich images.
Rokinon 85mm T1.5 Cine Lens for Canon EF. The 85mm has a minimum focus distance of 3.6'. Internal focusing minimizes the effects of lens breathing, which insures a more consistent angle-of-view when adjusting focus. The lens is composed of 9 elements in 7 groups, including one aspherical element to reduce spherical aberrations. In addition, a multi-coated elements help improve light transmission.
13,351 clicks
Christopher Trauco

Purchase New Intermediate Camera vs. Older Professional

As someone recently in a similar position (but not going to college to study the subject), can I suggest?

You will learn much more about photography in general by using film rather than (or as well as) digital. Digital is good too, but film teaches you more. It is these days not expensive - you can buy a good quality 35mm film SLR for well under £200/€200. If you start with black-and-white film you can develop it at home yourself very easily and cheaply, then scan the negatives into your computer.

As for digital, whilst I think mirrorless interchangeable lens cameras are the future there's no doubt that right now conventional digital SLRs are the best, most flexible and probably cheapest way other than point-and-shoot bridge cameras (some of which are actually very good). I'd wait for MILC technology to stabilise before investing large amounts of money in it.

It is NOT about equipment, it is about you. In fact, I'd recommend restricting yourself to cheaper, simpler kit because it is this that will bring out the creativity, part of which is working round the limitations of what the camera and lens will allow you to portray. Thousands of Euros of equipment won't make you a better photographer, whereas a good photographer can get excellent images from a disposable camera. Note especially that film is less susceptible to technological advance than digital, the fundamentals not having changed for decades.

I'd suggest buying a used camera. Digital technology changes rapidly, so what today costs €10,000 tomorrow will be a few hundred in a second-hand shop. An "outdated" digital SLR will still produce perfectly good images capable of printing at A3 size or even larger. You don't really need more than about 10-12 megapixels unless you're doing exhibition size prints.

Lenses are more important than the camera. If you can afford it, buy a film and a digital SLR of the same brand so you can use the same lenses on both. Since I started using my father's AE-1 in the 1970s, my preference is for Canon, but Nikon is just as good, it's simply a matter of personal preference. Both have a very wide selection of lenses. Get a Canon EOS 35mm SLR and you can use modern EF-type autofocus lenses. The range of usable Nikon lenses is even greater since their old film and current digital models (largely) use the same lens mount design, whereas Canon changed from FD to EF in 1987 and the two are not interchangeable.

Not knowing enough about Nikon or other types, I would make Canon-specific recommendations so - a Canon 700D or 70D crop-frame digital SLR if you want new, or a used 450D for cheapness; a Canon EOS 3, 30 or 33 film SLR; the EF 50mm f/1.8 prime lens because it is cheap and optically good; a macro lens of 100mm focal length; a modest telephoto zoom; a wide-angle if you want interesting perspectives. You say video appeals to you - the Canon 70D is very good for video, especially coupled with some of the EF-S lenses with STM focusing motors. If you want old-school everything manual still photography, then get a Canon AE-1 and some FD type lenses.

But most of all, enjoy.
28.04.15, 23:03
As someone recently in a similar position (but not going to college to study the subject), can I suggest?

You will learn much more about photography in general by using film rather than (or as well as) digital. Digital is good too, but film teaches you more. It is these days not expensive - you can buy a good quality 35mm film SLR for well under £200/€200. If you start with black-and-white film you can develop it at home yourself very easily and cheaply, then scan the negatives into your computer.

As for digital, whilst I think mirrorless interchangeable lens cameras are the future there's no doubt that right now conventional digital SLRs are the best, most flexible and probably cheapest way other than point-and-shoot bridge cameras (some of which are actually very good). I'd wait for MILC technology to stabilise before investing large amounts of money in it.

It is NOT about equipment, it is about you. In fact, I'd recommend restricting yourself to cheaper, simpler kit because it is this that will bring out the creativity, part of which is working round the limitations of what the camera and lens will allow you to portray. Thousands of Euros of equipment won't make you a better photographer, whereas a good photographer can get excellent images from a disposable camera. Note especially that film is less susceptible to technological advance than digital, the fundamentals not having changed for decades.

I'd suggest buying a used camera. Digital technology changes rapidly, so what today costs €10,000 tomorrow will be a few hundred in a second-hand shop. An "outdated" digital SLR will still produce perfectly good images capable of printing at A3 size or even larger. You don't really need more than about 10-12 megapixels unless you're doing exhibition size prints.

Lenses are more important than the camera. If you can afford it, buy a film and a digital SLR of the same brand so you can use the same lenses on both. Since I started using my father's AE-1 in the 1970s, my preference is for Canon, but Nikon is just as good, it's simply a matter of personal preference. Both have a very wide selection of lenses. Get a Canon EOS 35mm SLR and you can use modern EF-type autofocus lenses. The range of usable Nikon lenses is even greater since their old film and current digital models (largely) use the same lens mount design, whereas Canon changed from FD to EF in 1987 and the two are not interchangeable.

Not knowing enough about Nikon or other types, I would make Canon-specific recommendations so - a Canon 700D or 70D crop-frame digital SLR if you want new, or a used 450D for cheapness; a Canon EOS 3, 30 or 33 film SLR; the EF 50mm f/1.8 prime lens because it is cheap and optically good; a macro lens of 100mm focal length; a modest telephoto zoom; a wide-angle if you want interesting perspectives. You say video appeals to you - the Canon 70D is very good for video, especially coupled with some of the EF-S lenses with STM focusing motors. If you want old-school everything manual still photography, then get a Canon AE-1 and some FD type lenses.

But most of all, enjoy.
3,916 clicks
hinizturgay

hi all, I need some advices about canon lenses.10-22 or 16-3

You must be using a crop sensor camera as the 10-22 is an EF-S lens and foes not fit the full frame cameras (like 5d).
with a crop sensor you must know that using an EF (not EF-S) means a multiplier of 1.6 to the focal length. So the 16-35 (which is a favorite of mine) becomes a 25-56. These are not close enough to do the same functions. The costs are not similar either as a 10-22 is a about $650 new and the 16-35 is about $1000 more. If you are beginning I suggest limiting the expense until you find your voice. Then spend resources there. You may find an specialty that pleases you and those lenses may be completely different than where you began.


Post Edited (14:56)[/quote]
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TomS...

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