Allen Tannenbaum,
a photojournalist with a distinguished career, resigned last month
after years with Sygma Picture Agency. Many of his fellow photographers
also did the same. His account of the developments that led to his
painful decision can be found in this issue. As a photojournalist,
it makes me very sad.
The Sygma case
is emblematic of much of what's wrong with freelance photojournalism
today. There are many different views of what it was, or is, that
Corbis, the mega picture collection, owned by Bill Gates, did to
alienate the photographers. Peter Howe, the former Director of Photography
for Corbis, writes from his perspective in this issue as well. There
is talk of demands made by Corbis regarding rights to the pictures
they will be selling. During a first meeting with photographers
in Paris, Corbis came up with the proposition that the photographs
would remain the intellectual property of their creators. However,
in the same breath, they suggested that once Corbis had made any
sort of digital enhancement -- presumably extending to the most
basic "cleaning up" of the photograph -- henceforth that new version
would become the property of Corbis.
What is the
most troubling part of Allen's article is when he describes his
meeting with Corbis CEO Steve Davis:
"I explained
to Davis that in the past Corbis had bought collections, but with
Sygma he had bought lives, as the relationship between a photojournalist
and an agency is very organic. I'm sure he didn't understand how
we often develop and co-produce stories in a mutually beneficial
way. In a meeting I had with him after their totally one-sided contract
was presented to us in New York, I said that the photographers considered
Corbis' attempt to charge us for things previously promised for
free was cheesy. Davis told me that if I didn't trust them, I had
options. In other words, if you don't like it, you can leave. I
considered this arrogant and disrespectful, and certainly not 'photographer
friendly.' Despite this impertinence, I continued the dialog and
insisted that he listen to the ideas and opinions of the photographers.
The answer to a business question I posed was, 'the direction of
the industry is royalty-free.' To the buying of the rights to access
the photographers' archives, his response was simply, 'I've heard
that before.' He said that Corbis did not want to co-produce any
journalistic projects. He added that Sygma no longer existed as
a legal entity. This hit home as I realized the Sygma I knew no
longer existed."
There it is,
Sygma no longer exists. What an abrupt and terrible end for one
of the world's leading photo agencies. Over the years, Sygma photographers
produced some of the finest examples of photojournalism. Such major
projects as JP Laffont's multi-year study of Child Labor around
the world. A Sygma photographer trekked over the Andes to photograph
the exclusive story of the survivors of a plane crash that had resorted
to cannibalism in order to live. The story, "Alive," later became
a book and movie. During the Gulf War, Sygma photographers, refusing
to take part in the U.S. Defense Department's "pool," shot photographs
from the battlefields that none of their pool-bound colleagues could
have captured. In fact, it was a Sgyma photographer who beat the
allied forces into Kuwait City by one full day, and he wound up
with a company of Iraqi soldiers trying to surrender to him.
If Davis did
indeed indicate that Corbis didn't want to co-produce journalistic
projects, he may have signed the death warrant for freelance photojournalism.
Throughout the
history of magazine journalism, particularly in the past few decades,
what made covering the far-flung newsfronts of the world possible
was to a large extent the agencies. Sygma, Gamma, Saba, Magnum,
Liaison, and many smaller agencies provided the financial wherewithal
to support the enormous travel expenses photographers needed to
do their work. The role of the agency was critical. Photographers
are not major corporations, with extensive credit lines. They often
live from month to month, and if they had to wait to receive payment
from the magazines they eventually sell their stories to, they would
lose their credit cards, apartments or houses, and perhaps, even
be unable to buy the film they use to take their pictures. In today's
bottom-line environment, prying money lose from magazine accounting
departments is a slow and frustrating procedure. If the photographer
could afford to do his or her own sales and collections and run
their own archives, they wouldn't need an agency.
For many years,
agencies were largely mom-and-pop operations. They and their photographers
constituted a family. One of the main objectives was to grow their
collections by adding distinguished new coverage. When the "megaagencies"
came on the scene, their goal was to "own all the pictures." To
that end, Corbis started gobbling up the agencies,and making their
owners "offers they couldn't refuse." What these giants wanted was
the archives. What they did not want was to fork out more money
for new coverage. The acquisition of those archives meant -- in
their minds -- they need no longer deal with the world of journalism.
If you ask a
photojournalist what their favorite story is, the answer's usually
"the one I'm working on." Like most journalists, they don't live
in the past. What they have contributed to history is for editors
and historians to sort out. This is the bedrock of the future for
the world's photographic legacy.
Corbis has ruined
a proud institution. They don't understand the nature of the business
they decided to dominate. They have the resources to save these
institutions and lives. But do they have the moral and ethical conscience?