View allAll Photos Tagged plagiarism
my beautiful cousin :)
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© All rights reserved. Use without permission is illegal.If you do so you will be sued!!!
(Published in Advanced Photographer, November 2012)
Shot during a trip out with my mate Keith Aggett, this was one of those rare mornings during the recent period of relentless blue skies when cloud interest suddenly broke. Some of you will have already seen Keith's version of Smeaton's Tower, which is markedly similar to mine - perhaps not surprising considering we shot it side by side!
www.flickr.com/photos/keifereef/5688466746/in/photostream
We often go shooting together (although usually with very different results), and if you're not familiar with Keith's work I recommend you take a look at his photostream:
www.flickr.com/photos/keifereef/
Generally, we have a pact not to comment on each other's photographs here due to bias - well, we did go to school and have worked together, I've been his Best Man twice(!) and him mine, and I'm the God Father to his youngest son... On this occasion though, and for fear of being accused of plagiarism I thought it best to point out neither of us saw the other's edit until both were finished.
As a punishment for getting to see me in my undergarments you get to read one of my long meandering posts (or you can stop here). Now I've been surprisingly motivated the last few weeks to dress at home (well I can't do it anywhere else) and did a both last night and Monday. I had a little wobble on Monday where all I could see was male me looking back in the majority of my pics (a bad selfie was the root cause) so therefore wasn't really feeling it last night. However inspired by the wonderful Anna Thorne (search her out on here and follow if you don't already) and her suggestion I record a longer video than the one I did last week, I did just that. I also followed (mostly unsuccessfully) a makeup tutorial for eyeshadow (which is one of my major failings) which I ended up happier with than eye expected (see what I did there).
Anyhoo as a reward for getting this far (you stopped reading earlier then skipped to the bottom didn't you?) I can inform you that I shamelessly ripped off Miss Thorne (in a blatant piece of plagiarism) and used one of our dining chairs to record a video in this very outfit. To which I dare say I'll get around to posting at some point, and from the title of this particular photo you may guess that it's a little bit more risqué than my usual fair. On that note I'll leave you, have a lovely weekend folks 💋
Pezo tanke modela 1 de 155 mm kanona modifaja 1 (sturmo) was an assault armored vehicle utilizing a conservative casemated gun scheme, more suitable for a 1940's tank destroyer. Still, it was classified as a heavy assault tank by the army of Asparantia due to its level of protection. Helika ("Helix"/"Snail" in Asparanto language) was armed with the 155-mm anti-tank gun in the casemate which allowed for respectable horizontal gun traverse of 50 degrees to each side. 12.7-mm anti-aircraft machine gun was placed in the dedicated turret. Additional equipment includes a vehicle snorkel to retain driving capabilities being submerged - the "Helix" is too heavy to use any of standard bridges.
Once again the fuel for my blatant plagiarism flows from the United States - obviously, a general idea of T28/T95 super-heavy prototype combined with the casemate layout of a vehicle draft mostly known as the "T28 Heavy Tank Concept". Hull shape, however, was borrowed from the German Jagdpanther. Rangefinder "ears" draw inspiration from the T29-T34 series of American heavy tanks.
This image was created in DALL.E with the prompt “Create a ball of light image like Denis smith does, perfectly round. On the beach.” There is a lot of talk about AI and whether it’s art or not. Plagiarism and the like. Here’s my thought.
Yes this is super cool, I mean if I had created this back in 2013/4/5 I would have been stoked.
I think AI art and copy rocks. If someone can create a piece of AI software that can create beautiful images, surely that just pushes us to make better, be better.
Back when light painting was super fresh, and there was just a handful of us doing it, we pushed, and pushed hard. I was spinning orbs to be “better” than others on here, and it made me better.
What we need to do is let the AI do it’s thing, but bring more humanity into our own work. Maybe if you are worried about AI being too close to your work, you need to make better work.
Why do I know, I’m still learning it all, all of it.
Peace, Denis.
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Homage to south polar region, bipolar disorders, auto-plagiarism and shifts from originality to war-like behavior set conveniently in very, very vitriolic McCullough's vision of Andre Breton's transparent housing.
On a much grander scale, of course...
Will post more pictures, also have quite a large diorama that I built, which has been sitting idly by, just waiting for a photo. Oh yeah and the photoshopping I won't even try to hide the unceremonious plagiarism from this genius: www.flickr.com/photos/10755528@N08/4642520515/in/dateposted/ The only difference being: Brian can actually photoshop decently.
Oh and with the basketball hoop, orange thingo, the idea was definitely not my own, but a humble homage to this dude: www.flickr.com/photos/lemon_boy
whose work provides me with so much damn enjoyment. If you haven't seen his rad designs, check them out stat!
Plagiarism Alert: I saw this cottage on the cover of a book by David Wilson whilst on holiday in Pembrokeshire. I'd been shooting some IR of the lovely little farmhouses anyway so when I stumbled across it I couldnt resist a shot of it. Its now a natonal trust holiday let, Treleddyd Fawr. I bought the book so I don't feel too bad.
That ^^^ means no flashy logos or daft graphics please!!
View it *BIG*
So here we go then. I'm a bit nervous about posting this. I know in my own head which angle I came at this from, but I'm not sure it will translate.
A while ago now, a Flickr contact posted two photos that totally blew me away. Step forward Eliska AKA Onion Patch, with her photo Blood Thirsty. Now as you click that link, you'll immediately see the obvious parallels, and that's kinda what I'm nervous about. I'm not a fan of plagiarism, so am nervous about the idea that this image can be seen as that. I see it (genuinely) as having used Eliska's work as an inspiration. I dunno if there's much scope these days for genuinely unique work, we must all be at the point where what we shoot is influenced by something else.
(That said, I prefer to remain blissfully ignorant to the idea that Eliska may have stolen the idea from somewhere else, and prefer to give her full credit for being a visual genius!)
I also wanted to add an element of one my own earlier photos as seen here. In my mind there I'm proud of the concept and realisation, but knew there could be more drama.
So I tried to blend the lot together, and throw in some funky lights too, because at the moment, it's any excuse to practise with that Orbis ringlight thing!
So as we got ready for this photo, both Sarah (the model) and Kate (the MUA) had been briefed weeks in advance about what I was after with this. And yet, if I'm being honest, words can't do it justice. This is simply because Kate made this shot her own. I didn't even try and control her input here, she's got more talent in my little finger than I've got in my entire body. I just sat there and watched her do her thing, Sarah trying to stifle the giggles as she did so. And she just cooked ideas, and colour schemes and methods straight out of fresh air, right before my eyes. Kate Holloway, you're a genius. (It makes it even more so when you realise Kate knows how to wield a camera and is a Photoshop whizz on the quiet.)
So come on, let me know what you think? Seriously.
I feel there's an imprtance to looking back at your stuff and seeing what worked, and not being afraid to move it on a bit. Hopefully, hopefully I did this. Maybe. Eeek! Getting all nervous again! :-(
(Strobist/flashy stuff info: One 580 EXII fired into Orbis ringlight adapter in front of model, approx 1 mtr to subject, and set at about 1/2 power on full zoom. Second 580 EXII directly behind model fired on wide 14mm spread at white wall at full power. Both triggered via Cybersyncs.
Plagiarism is always wrong unless you plagiarize enough and then its parody…
Surreal Pop Life
Zeiss Ikon Nettar + Novar 4,5 + Ilford Delta 3200 rated at 1000 ISO
Editing on Procreate
#kiev88 #ilford #ilforddelta3200 #analogphotography #mediumformat #vintagecamera #expiredfilm #blackandwhitephotography #ilfordphoto #procreate
This photo is a tribute to (or should that be shameless plagiarism of...) a friend of mine who loves a bit of 'camera on the ground' action...
Or in this case, 'mounted upside down on a tripod' action!
I was the photographer at another wedding yesterday which took place at Largs by the Clyde coast. Expecting the usual rain, which didn't come in the end, I took an umbrella and couldn't resist a take on the Jack Vettriano painting 'The Singing Butler'. It all went well, although a point to note for the future is that stilettos are not ideal for a pebbly beach.
December 12, 1998: Conrail Train TV-24 led by CR SD40-2 #6497 is eastbound crossing the Mohawk River into Pattersonville, New York onto Conrail's Selkirk Branch (West Shore) in late afternoon light.
Location & attempt was an initial attempt at plagiarism (common when learning) as I loved Scott Hartley's shot on Page 21 of his Conrail Volume 2 1983-1990 book published by Railpace. When I got up there the signal mast on the south side of the bridge was gone, so I made my own attempt...
London Dada Work # 162. Bas relief within 85 x 60 cm frame. Incorporating largely polygonal-cut 5 mm card on board, rendered white throughout to faithfully reflect primary colour LED lighting mix from the sides to intentionally produce an infinitely wide range of differing colours and shadow directions.
Both shape and concept proven to have been copied by ad agency Wolff Ollins in their design of the 2012 Olympic logo.
Link to the original post and background, from 2006;
Old oak pews in Tetbury church.
St Mary’s is a rather grand building in the centre of this local market town which is about ten miles from where I live. The church is very interesting photographically with lots of black oak woodwork in the seating and in the carved half gallery.
The pews are curious, each with an individual door (you can see the hinges of these gates low down in the image). Why they did that I am not sure. Perhaps it was for warmth, or to cover the ladies ankles from immodest exposure, or to hide private intimacies. Or perhaps it was to keep the dogs out (or just people you didn’t get on with!).
There has been a place of worship here since 681 AD but the current church was built in the late 1700s using wealth from the local woollen industry.
This was taken in February this year, and developed using Affinity on the iPad as my normal computer is in intensive care. The dreamy vintage look was accidental - me messing around to see what happened if… It is created using a box blur adjustment blended into the image using Darken blend mode.
The image has been split toned, but subtly, using red in the blacks of the oak and blue contrast in the lighter shadows on the aisle (a technique I nicked from the grandmasters of old - plagiarism is the highest accolade and all that :) ).
There is a dark vignette too but the captured image was all about perspective and shadows so the aisle shadow in the bottom right corner was there in reality.
For my 100x monochrome and toned challenge which I am trying to finish off as soon as I can., and hopefully before it drives me nuts (or more nuts as someone is bound to point out).
Thanks for looking. Hope you enjoy it. Happy 100x :)
A bit of plagiarism here from one of my favourite bands for the title, anyone care to guess the artist and song??
This is a picture that I’ve been meaning to take for a long time, but ‘Tower Bridge’ is about a 45 minute walk from where I work and I’m not a big fan of the London underground (although judging by some of my contacts photos of the tunnels and such like I should reacquaint myself with it ;-)), however about a month ago I decide to bite the bullet and take a trip there after work.
I took a two shots of light trails one was from the north bank and the other from the south bank; the one that’s been posted is from the south bank.
I tried a few exposures but wanted to do a really long exposure mainly so I could remove the people from the picture (this was during the backend of rush hour), so I used a ‘Lightcraft Workshop ND500’; filters have been causing of a little debate on one of my contacts photos. I think that the ‘LCW ND500’ is very good value for money and until I can find some cash for a better filter it fills the void nicely.
Then main reason why I posted this shot and not the one from the north bank was because of the leaf on the floor; I know that it’s small detail but I kind of like it…….. the simple things eh!!!!
My entry into the recoding images group, theme night time
****As a side note the LCW ND500 claims not to cause any colour cast........ but I've read that it can cause pictures to appear cold (a bias towards blue), and one of adjustments that I had to make in pp on this was to shift the white balance as the image was a little cold, but this was minimal!
Lens: Canon 10-22mm
Filter: Lightcraft Workshop ND500
AV f/4.5
TV 240 seconds
ISO 100
Press L to view large
Anyone wanting a signed high quality giclee print of this picture should download it at the size of their choice, make a high quality inkjet print of it, then get a pen and sign it.
www.artnews.com/art-news/news/maurizio-cattelan-banana-co...
Art is a bunch of people looking at shit and marvelling at the flies that emerge therefrom. Anyone who spends all day shovelling the stuff would tell you that flies are simply a thing that happens.
With thanks to the Wonderful Wozzle of Ezzle for bringing this to my attention in the first place.
And on May day 2023 this comes to my attention
I may have to make another visit to Brick Lane...
Another little update - I'm definitely in the wrong line of business...
In 1785 the English horticulturalist William Marshall (1745-1818) published a manual on gardening. In it he describes plants from a horticulturalist point of view: those that 'make no show' are relegated to second place. One such was this - in my eyes at least - pretty American Witchhazel which, writes our Marshall, 'Nature seem to have designed for the stricter eye of the botanist'. Hence he spends not much time on its description.
This Witchhazel was already being cultitvated in at least one English garden in 1736. But it enters the annals of botany a bit later. John Clayton (1694/5-1773), avid American plant collector, sent a potted exemplar (1743) to Mark Catesby (1682/3-1749). Catesby had traveled in North America between 1722 and 1726, and was known to be working on a great Flora of 'Virginia'. To Catesby's delight, this Hamamelis arrived alive and well around Christmas after the arduous North-Atlantic sea-voyage. Catesby, one of Great Linnaeus's suppliers, described it in his usual dry but precise style (1747) and sent it to him in Holland. There's a whole history of intrigue and plagiarism associated with the descriptions of this shrub which I will pass over here.
Just enjoy the Gold and the Green!
Once of the train the loco is turned on the triangle and then retired to the depot for coal, water and fire cleaning. The forestry railway at Dashitou had a unique feature for China as can be seen by the exhaust. Plagiarism is something not feared over here, and all of the systems locomotives were so fitted. I have no doubt Dr. Giesl was not paid any royalties! Whether it was part of a grander experiment is not known, but it was not seen fit to spread the use out to other narrow gauge systems though a few standard gauge locomotives where so fitted. And take a look at those tightly spaced tiny drivers. These locos could muster up a top speed of Thirty kilometres per hour at which they would sound like they were moving at a pace far greater, one stroke of the piston will not carry the engine far! But, they embody raw power, sure footed on poor rails, they were masters of their environment.
December the 11th 1993.
Nikon FG Sigma f4 70 to 210mm zoom set at 70mm, Kodachrome 64.
1/250 @ f5.
As a thing, I don't smile in any of my photographs ...
Also, I'd like to give a big shout out to possessed2fisheye (Scott McBride), who's daily antics I have followed faithfully for at least six years. I've generally stayed away from producing the above type of image as I would consider creating them would be Plagiarism (of Scott's work) ... but now that I'm getting in to compositing, these images are part of my own creativity (assuming I have any real creativity)..
Hätten sie gedacht, dass im bedeutenden Sprengel Museum für zeitgenössische Kunst in Hannover Plagiate ausgestellt werden?
Das zumindest behauptet der Kunsthistoriker Michael Wöltracci. Er habe dort eine dreiste Fälschung
der bekannten Kunstfigur „Schorsch“, bzw. „Der kleine Mann“ oder auch „Der große Vorsitzende“ entdeckt.
Die Plastik sei handwerklich und in der künstlerischen Nachahmung so schlecht gemacht, dass man sich frage, warum das erst jetzt auffalle so Wöltracci.
Als Gründe nannte er die viel zu kleinen Ohren der Fälschung und das Grundmaterial sei aus Stein und nicht aus duftig weichem Teddystoff wie beim Original.
Außerdem wisse er, dass sich eben dieses in einer Privatsammlung in Lübbecke befände und es wundere schon, dass ein so renommiertes Museum wie das Sprengel nicht genauer prüfe woher die gezeigte Kunst kommt.
Hier ein Link zur Privatsammlung:
Ver esta pagina: www.flickr.com/groups/1318131@N20/discuss/72157623542608442/
y el muro de este grupo: www.flickr.com/groups/1318131@N20/
Flickr Escuchanos! Queremos más seguridad!
Cada vez es mayor el numero de usuarios afectados por los plagios y/o uso indebido de sus fotos y contenido por terceras personas.
Ya no basta con informar en el Perfil del usuario y en cada foto que se postea, que existe el derecho de autor y que para su uso hay que pedirle permiso al fotógrafo que ha creado esa imagen.
Ya no basta reportar a estas personas o bloquearlas, porque FLICKR no ejecuta acciones contundentes contra estos ladrones, pedófilos y/o sádicos que siguen utilizando sus cuentas a voluntad y haciendo uso indebido de las imágenes sustraídas a otros usuarios.
NOSOTROS, los usuarios dignos y éticos, los libres artistas, los que respetamos el trabajo de nuestros colegas, los que utilizamos FLICKR de manera LEGAL y somos parte de una comunidad que busca enriquecerse de la creatividad del compañero e inspirarse en sus obras SIN COPIARLAS y sin hacer uso INDEBIDO de ellas, RECLAMAMOS Y EXIGIMOS por esta vía:
Sean respetados nuestros derechos de autor.
Que FLICKR cree nuevas herramientas para proteger nuestras obras.
Que una vez un usuario sea bloqueado se le prohiba visitar de nuevo la galería de la persona que lo ha bloqueado o reportado.
Que se les suspendan indefinidamente las cuentas a estas personas, que plagian, copian y usan estas fotos adquiridas sin permiso con fines ilegales y penados por la ley, como lo son entre otras, la pedofilia y la pornografía.
FLICKR Escucha a tus usuarios! Ya no basta con una advertencia que diga " Llevanos a los gatitos" y que la cuenta no pase el filtro de seguridad, hay que hacer que las cuentas sean mas seguras.
Que Flickr haga un seguimiento adecuado a las cuentas reportadas. No queremos mas moderación sin justificación. Senores administradores de Flickr. Exigimos respeto en la moderación de todas nuestras cuentas y que se diferencie claramente el hilo entre lo pornográfico y lo artístico.
FLICKR es hora de mejorar tus sistemas de seguridad y de garantizar el servicio que todos merecemos!
Hoy nos unimos a una protesta mundial para alzar nuestro arte en pro de un mejor servicio y de un mejor FLICKR, donde podamos seguir compartiendo de manera ética y legal nuestros puntos de vista de la vida y del mundo a través de nuestro lente!
Gracias por considerar esta demanda y por mejorar los puntos débiles expuestos
Flickr - STOP PLAGIARISM!
www.flickr.com/photos/stuntbear/galleries/721576235562478...
Camera model: Canon 40D
Lens: EF 24-105L f/4 IS USM
Filter : Canon 77mm Close-up Lens 500D
Aperture: f /7.1
Shutter speed: 1/13
ISO: 1250
Copyright © Goran Kljutić
A blatant bit of plagiarism here after David AKA Squareburn, recently uploaded this fine photo from virtually the same spot flic.kr/p/CmuUF2
I hope the link works but if not, you can find Squareburn in my contacts and find the photo yourself.
It a place that I've always liked to visit, it's a decent walk to get there and although it's only a few meters away from the south pier at Amble with its anglers and dog walkers, it might as well be a mile away as there's no way across unless you happen to have a boat.
Bit of a dull morning when I took this so I went to town on the B&W again!
:// Begin Marcus' personal log \\:
Having left the imperial facility on Ilum, we decided to return to Coruscant to simply relax for a bit and wait for Frons' arm to fully recover and give Charla some time to rest. The twins decided to accompany us as their transport had left them stranded on Ilum and we had gotten along with them pretty well.
Well, we made it to Coruscant without any larger problems and found some decent lodging for the 9 of us. After that we all went about our business; Kas and Vase played Sabacc, Veto went to go search for the nearest bar, and the rest of us relaxed and got some rest.
A couple of minutes later a droid arrived at the doorstep of our current residence which presented itself as H-24, a messenger droid with some important information for us. He handed me a small data chip and as quick as it had come, the droid was gone.
Braik took a quick look at the chip, confirming it was neither a secret explosive nor a hostile virus.
We plugged it into Vase's computer and accessed the one file stored on the chip - a simple audio clip. Without hesitation, I played the clip.
Immediately, a disembodied female voice begin speaking to us through the computer's speakers;
"Greetings, My name is Lagra Romlow. I heard your little band was in the region, and coincidentally I happen to be in need of the services of a bounty hunter. There is an underground imperial prison on Kashyyyk under these coordinates:
41°24'12.2"N 2°10'26.5"E. There is a prisoner in cell 42 on level 3 that I need kidnapped and returned to Coruscant. The person you're looking for is a female Keshiri in her early twenties. I regret to inform you that I can not equip you with more information at this time, however I can assure you that if you choose to accept this mission you shall be justly rewarded. Knowing bounty hunters, this isn't enough to convince you to join, so if you enter the following code in the intersystems bank network you'll find a number of credits already waiting for you: 5GD04KL38."
I signalled to Vase to enter the code into the network. Once he had entered the network and used the code, we were granted access to a high security account with some very pleasing numbers on it.
"Should you chose to accept this job, I shall be more than obliged to triple this number. I'm sorry, I can not supply you with more information. End transmission."
I looked at Vase.
"Well, I don't usually like taking jobs from unknown people, but that number is very convincing."
"Welp, if it turns out to be a scam, we can always just track the droid back to the owner and give them a talking too"
I looked at Vase's tracking computer, which was blinking with a soft blue light.
"You planted a tracker on that thing, didn't you?"
He just raised an eyebrow and smirked.
I sighed.
"Eh, I was never one for relaxing anyways. Call in Vase, we've got a job to do. And bring the twins too, they can fill in for Frons and Charla while they recuperate . They won't protest once you show them that account"
:// End Marcus's personal log \\:
:// Begin Marcus' personal log \\:
We reached Kashyyyk and followed the coordinates to a small clearing in a forest of towering trees. In the middle of the clearing was a small hatch. The plan was fairly simple: Braik had brought with him all the equipment we would need for a quick heist, or in this case a breakout. Among the equipment was a laser drill and grappling line and spool. After entering the prison, Braik and I would slide down the line equipped with the drill to level 3 and break out the prisoner, with Veto holding the grappling spool and the twins providing us with some extra protection. Kas would stay in the clearing and alert us if any reinforcements were on their way.
We broke into the prison after a brief fire fight with the guards and prepared for our descent to level 3. As far as we could tell, no alarms had been triggered and no one knew of our presence. Kas stayed behind, Veto grabbed the spool, and the rest of us slid down to level 3. Or at least, what we thought was level 3.
After a quick search of the containment cells, we found cell 42 and prepared for the extraction. Braik calibrated the drill and the twins took up defensive positions and I took to work on disengaging the alarm. After a couple of tense, quiet minutes, I was able to disable the alarm and Braik informed me that the drill was ready.
We grabbed the drill and began slowly moving it in a circle around the door of the cell. Once we completed the circle, we took a deep breath and pushed the door in. What met our eyes was certainly not a female Keshiri.
"Wassa youa doin?" asked the confused Gungan.
"What the heck...," I muttered under my breath.
Braik accessed the information panel next to the cell.
"Kidool Depels," he read. "He was charged with first degree murder and treason to the empire for a successful assassination attempt on an imperial senator."
"Oh yeah?" I asked. "How did he do that?"
"He poisoned the senator's meal. This guy was a chef for 6 years before being imprisoned."
I glanced at the Gungan. "Nice" I said.
He was too busy slobbering to notice.
"Markus," said Braik. "There isn't enough juice in this thing for another extraction. This is it, we had one shot to get this gal out and we're stuck with a Gungan instead."
"I don't get it," I said. "We're on level 3 and this is cell 42, where did we go wrong?"
"Thisa not level tree" said the Gungan.
I looked down over the edge of the catwalk.
"I know you Gungans aren't big on brains, but I'm pretty sure we're on the 3rd level."
"No, yousa under da ground man. Yousa count lavals begging from tha top."
I glanced at Braik who was pounding his head against into the wall.
"Well, I'm not leaving this place without the prisoner. Come on Braik, we're going down another level."
Braik lifted his head. "I already told you Markus, we can't use the drill for another extraction - it just doesn't have enough power."
"I'll think of something." I said.
"When you 'think of something,' it usually involves a lot of explosives, and I thought we weren't trying to alert the garrison stationed here?"
"Whatever, this was getting boring anyway," I said, grabbing onto the line and sliding down to level 3 (the real one this time).
Braik followed me next, then the twins, confusion evident on their faces.
I found cell 42 and reached into my coat. I brought out a thermal detonator and Without hesitation tossed it at the door. It exploded outward, showering the catwalk in dust.
Out of the cell stepped a female Keshiri wearing a pair of electro-cuffs.
Braik read from the information panel near the cell; "Lagra Romlow, imprisoned for multiple crimes, including theft, plagiarism, and dealing in illegal arms and drugs."
"You hired us to rescue yourself? Clever, I like it," I said.
"No time for chit-chat Markus," said Bren. "The first guards have arrived."
Sure enough, 2 prison guards had appeared on the level below us and began raining shots on our little party.
"Keep them distracted," I told Bren and Krista. "We'll get the girl out first, follow us once we're done."
After a quick nod from Bren, I gestured for Lagra to grab the line and signalled Veto to lift us out.
The twins made quick work of the guards and followed us moments later.
"Whasa you doin?" asked the Gungan. "Don leave mesa! They thinka I with yousa!"
"Then grab on," I told the Gungan. "We could use a good chef, another day of Charla's cooking might kill me."
After a few seconds of thought, I glanced at the Gungan. "Don't tell her I said that"
The Gungan just stood there, empty-headed. It didn't occur to me that he had no idea what I was talking about.
"Just grab the heck on." I told him.
He happily obliged, and we exited the prison safe and sound.
Once we exited the prison we were met by Kas who had a concerned look on his face.
"I intercepted a signal for reinforcements just now, they'll be here shortly. I was just about to tell you when you came out."
"Then let's get out of here," I said. "Our work here is done"
:// End Markus' personal log \\:
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Built for Brickanics' contest over on YouTube. Due to the fact that vacation is coming to an end, I decided I didn't want to start any larger/longer projects, but I did want to enter this contest as well as just build another Star Wars MOC. The result: The breakout, a small SW MOC for the Dark Times RPG built in less than 2 days.
Feedback is always appreciated,
Happy Building!
Plagiarism - What's The Difference?
Jakar Dzong, Bhutan. The huge prayer wheel and the small monk were blurred with a long exposure. I'm sure I'm not the first photographer to have used a long exposure for this subject, but as long as I am not copying someone else's photograph, I have nothing to fear! David Oliver and I are leading a group to Bhutan next year - only a few places left, so get in touch if you're interested.
In the AIPP's The Working Pro newsletter this month, I wrote a piece about plagiarism - the direct copying of someone else's work. In the old days of painting, it was usual for a student to directly copy the work of his master as a process of learning. For photographers today, that process is still highly recommended, except if you do copy someone else's photograph, don't enter it into a competition or post it on social media as though it were your own.
The problem isn't in the copying, it is in misrepresenting the photograph as being your own work.
So, what about subjects that have been photographed before? We've all seen photographs of the Sydney Opera House, so does that mean when we take our own photos of the Opera House we are plagiarists? Of course not - unless we take along someone else's photograph of the Opera House and seek to copy it directly.
If plagiarism were based on subject matter, portrait photographers would be in trouble because we all take photos of people! It's not the subject matter as much as the way or the manner in which the photo is taken. If you apply your own individual style and approach, that should usually be enough to distinguish yourself.
On social media recently, there have been a few examples of photographers exhibiting images that are incredibly similar to the work of other photographers. What these photographers might not always recognise is the amount of discussion about the similarity that happens elsewhere. It doesn't paint them in a good light. This isn't to say that just because a photograph is very similar to someone else's that it was copied. It could be coincidence and so we should also be careful not to accuse someone of plagiarism before we know all the facts.
It's an interesting subject and one that has many interesting facets and turns!
Set in the 19030's this book is about 5 women who are part of the Packhorse Librarians of Kentucky, a group that was part of the WPS, to make work for people during the depression. Although the work was fictional it was interesting to read about the work these women did.
Unfortunately the author was soon accused of plagiarism. In 2019, two years before Moyes book was release, The Book Woman of Troublesome Creek was published that also tells the story of the packhorse librarians. It seems there are numerous similarities between the story lines of both books. I guess I will now need to read the other book so I can decide for myself whether it is just coincidence or not.
Dialogues Without Words - Tribute To Soares Dos Reis (1847-1889)
With the music : Kenny Mac - Across the Chasm
youtu.be/jh7CQPpDVrU?list=RDokaeN7oXwY8
A New Series "Negative Color Noir" with creative negative techniques, layering and extra-spectral colors.
Background that i capture in Ponte De Sor , modified for this work and the Sculpture "O Desterrado" by the Portuguese Sculptor António Soares dos Reis (1847-1889).
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Soares dos Reis attended the Portuense Fine Arts Academy where he was a student of Fonseca Pinto and finished his sculpture course in 1866.
In 1867 he went to Paris, having won the contest with a bust, Firmino, of a romantic style that Portuguese sculpture was not aware of.
From Paris, where he was a student of Jouffroy returned in 1870, because of the war. The following year he departed for Rome, where he remained for a year and a half bringing, still unfinished, his greatest work "The Exiled".
Formally classic work, "The Exiled" ("O desterrado" in Portuguese) is also the nostalgia or the Portuguese feeling "Saudade" of a distant Homeland. Of cla ssicist inspiration, the work (at the time wrongly considered as plagiarism, which would long distress to the sculptor) is a remarkable work of volumes, allowing light and shadow games, to accentuate the meaning of the Sculpture title.
In 1872 he returned to Porto. He is named Academician of Merit of the Academy of Porto in 1873. In 1875, he is named Academician of Merit by the Academy of Fine Arts of Lisbon. And in 1878 he received an Honorable Mention at the Universal Exhibition in Paris.
In 1881 he is appointed professor of the School of Fine Arts of Porto, where he intends to reform the teaching of sculpture, counting on the obstinate opposition of his colleagues.
Exhibits in Paris, in 1881, at the Universal Exhibition.
Unable to overcome incomprehension and discredit against the value of his artistic activity and systematic obstruction of his innovative effort as a teacher, he resorted to suicide in 1889 in his studio in Vila Nova de Gaia, leaving a unique work in the sculpture of the second half of the 19th century.
With his death Portugal lost the best sculptor between the romantic world and the subsequent realism.
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Soares dos Reis cursou a Academia Portuense de Belas Artes onde foi aluno de Fonseca Pinto, tendo concluído o curso de escultura em 1866.
Em 1867 foi para Paris, tendo vencido o concurso com um busto, Firmino, de estilo romântico que a escultura portuguesa desconhcia. De Paris, onde foi aluno de Jouffroy, regressou em 1870, por causa da guerra. No ano seguinte parte para Roma, onde fica ano e meio trazendo , ainda inacabado, a sua obra maior "O Desterrado".
Obra formalmente clássica, O Desterrado é também a nostalgia da Saudade de uma Pátria distante . De inspiração classicista, a obra (na altura erradamente tida como plágio, o que iria angustiar durante muito tempo o escultor) é um notável trabalho dos volumes, permitindo jogos de luz e sombra, a acentuarem o sentido do título.
Em 1872 regressa ao Porto. É nomeado académico de Mérito da Academia do Porto em 1873. Em 1875, é nomeado Académico de Mérito pela Academia de Belas Artes de Lisboa. E em 1878 recebe uma Menção honrosa na Exposição Universal de Paris.
Em 1881 é nomeado professor da Escola de Belas-Artes do Porto, onde pretende reformar o ensino da escultura, contando com a oposição obstinada dos seus colegas.
Expõe em Paris, em 1881, na Exposição Universal.
Incapaz de se sobrepor à incompreensão e ao descrédito lançados contra o valor da sua actividade artística e a obstrução sistemática ao seu esforço inovador como docente, recorreu ao suicídio em 1889 no seu estúdio em Vila Nova de Gaia , deixando uma obra ímpar na escultura da segunda metade do século XIX.
Com a sua morte perdeu-se o melhor escultor entre o mundo romântico e o subsequente realismo.
Flickr - STOP PLAGIARISM!
www.flickr.com/photos/stuntbear/galleries/721576235562478...
Camera model: Canon 40D
Lens: EF 24-105L f/4 IS USM
Filter: B+W 77mm Graduated Neutral Density Gray (ND.6) 502
Aperture: f /16
Shutter speed: 1/20
ISO: 200
Copyright © Goran Kljutić
FLICKR, LISTEN TO US! WE DEMAND BETTER SECURITY TOOLS FOR OUR ACCOUNTS! NO MORE PLAGIARISM, NO MORE COPYCATS
Please read this
What is going on here?
To give y'all a little background: Creating a near perfect rendition of the Bombardier Traxx locomotive with Lego bricks has been a passion of mine since 2015/2016. This project underwent several drastical design changes within in the last seven years, thanks to improvements made between four European builders -
Raised, DennisakaTechno, Nicolas Tbx and myself with honourably mentioning Beck here as well. We spent countless hours inspiring each other with feedback, criticism, new ideas and pushed ourselves beyond our limits to create our vision of a truly "European" locomotive. Raised wrote up a nice summary of this effort in several articles on BMR and had invited Dennis and me to participate at the Legoworld event in Utrecht back in 2019.
Despite the following pandemic, we still managed to attend several events together with our Traxx mocs:
- BSBT in three consecutive years '20-'22
- Arnhemworld in late 2021, where we stumbled across NicolasTbx
- Our own organised event the "NLGM" in '22 and '23
Over the years we constantly improved the Traxx models, as more parts came available and our skill level as builders grew aswell.
A few days ago I received word, that a German/Austrian company by the name of "Stone-heap.com" published the left model of the Traxx locomotive.
That shouldn't be that much of a big deal right?
Wrong.
And here is the reason why:
The "head of design" of said company is a guy called "Germanrailwaybuilder". He mostly builds modern 8-wide German rolling stock and he appeared sometime in 2020 within the German Lego community and pushed his models on sites like rebrickable. Over the time we as members of the Lego train community noticed, that several of his "mocs" were in reality heavily inspired by mocs from other members of the community (including many of our own), so we were rather vigilant of this guy. In 2019 we actually had several problems with people copying our mocs and not declaring them as a copy and even one guy selling instructions on ebay, hence our initial alertness. So when the Stoneheap company appeared and Germanrailwaybuilder became part of it, we quickly associated his work ethics with that of the whole company.
Fast forward to the last weekend of april 2023.
Location: Noppenbahner L-Gauge meeting or short, "NLGM" in Wörrstadt.
Our very own public event to share our models with the fans and community, but more important to meet our fellow builder friends and having fun with our hobby!
Germanrailwaybuilder alongside a friend of his were one of the first visitors of the day, with him dressed in an attire clearly stating his affiliation with Stoneheap and therefor representing his company.
His appearance made us very, very suspicious.
What is this guy doing here? Is he here just cause he likes Lego trains or does he have a different goal in mind?
Almost immediately we saw him taking close up pictures of most of the models present, with special interest in the various Traxx mocs and Vectrons present. At no time during his stay he tried to get in touch with any of the clearly marked official organisation team (me being one of them), but he chose to say some rather rude, arrogant things and frankly inmature remarks about our mocs, something along like "I can build better than that". At least that's the message that came through to us through his general behaviour during his stay.
On the second day he managed to one up his rude behavior even more and brought a box full of Stoneheap steam engines with him! Apparently he got permission from one of the other invited exhibitors, but it never appeared to him to ask the organisers. It was at that point when we politly told him, that we do not approve of this behavior at all at our show, but offered him to stay, if he donates for our cause (we got 5€ in total). In hindsight we should've kicked them out, but we didn't want to cause an unnecessary scene, even after his lack of driving and building skills made his loco crash into the back of my "tagnpps" waggon, partially destroying it (Still waiting for an apology btw). Ties managed to get video evidence of the aftermath (timestamp is 6:16 min). You can also see my loco driving around the layout in his other video.
After the event was over we internally discussed on actions regarding the behavior of him and his buddy. The "CEO" of Stoneheap got wind of our complaints, wanted to know what was going on and we issued a statement of what had happened. He apologized and promised us that despite this mishap of his employee, they prefer to be on good terms with us in the future.
It could've ended at that point but it hasn't.
On the 20th of May '23 Stoneheap published a teaser of their upcoming Traxx model . Does it look familiar to you?
I reached out to them via a private email and bluntly asked them why they stole my moc. Instead of answering me and thereby keeping things discreet, they published a statement containing an attached picture (without having my written authorization for it) and more or less tried to weasel their way out of this whole affair. Alternative link here.
Bogus claims include:
- Same reference model (fair enough)
- They have a DB license (who cares?)
- There is a limited range of parts to use to achieve certain details (lie)
- Some things can only be build in a certain way (lie)
- These similarities are completly coincidental (lie)
- Model was done way before I did mine (lie) -> Proof
- Model was finished before he attended NLGM (lie)
Also fun fact: In their statement, they clearly state that "First of all we would to emphasise that we as a complete team neither tolerate copyright nor is it openly practised by a team member."
They openly admit that they don't recognise and adhere to the rules of copyright as part of their company policy!!!
Can you imagine how pissed I am right now? When I confronted them on their Instagram page, several of my comments telling the backstory to the public, whilst also backing my claims where either countered with their bogus arguments stated above or were deleted almost instantly. Any comment contradicting their side of the story and backing up mine were deleted. Comments praising their "innovative design" and praising them were fixed on top.
I even confronted them with wip's from their own stream, clearly showing how they had a totally different approach one month prior to NLGM.
Links right here:
I am being silenced and bullied into submission by a group of thieves and liars and they expect me to let it happen so they can scrounge money from unsuspecting customers. I know that in internal Stoneheap chat groups I am being refered to as a "Lego Fanboy" and that my behaviour is "affig" (monkey-like). There is a crusade going on in Instagram, were they try to paint a picture of me being an attention seeking wh*re, who wants to get famous by creating a massive ruckus (couldn't be farther from the truth, picture me more like a Ron Swanson kind of guy).
Is this really the way how you treat a fellow member of the community? With total disrespect and arrogance? Is it really that hard to give proper credit to the original builders?
Fact is, me and the other builders created something very special and unique over the last seven years and contributed an insane amount of inspiration and models to the European Lego train community and I won't back down on this. It's way too important.
So, what do you as community think about all this?
(The crowd made a loud noise outside the RTS building during its main evening news).
Srdjan Markovic, one of the 1 in 5 million organisation member, said on Saturday that the protests brought changes and that they should go since "the authorities are afraid of endurance, determination, togetherness and courage, the FoNet news agency reported.
He asked if there were no protests would Aleksandar Obradovic, the whistleblower who linked highest state officials with shady arms trade deals, ever be heard; or would it ever be proved that Finance Minister Sinisa Mali's doctorate was a plagiarism; or would the regime ever accepted a dialogue on election conditions under the European Union auspices?
Markovic said all that was unimaginable without people in the streets and that the protest was the only way to make changes.
He thanked people who came out during the holiday time to tell "this system that it is not good," and asked them to go to the "institution which started to open up, to the state RTS TV, to say what they wanted from them in 2020.
The crowd made a loud noise outside the RTS building during its main evening news.