Copyright

The Telegraph is Wrong about the Monkey Selfie.

Monkey selfie

In the summer of 2011, the infamous monkey selfie went viral. Nature photographer David Slater was shooting in North Sulawesi Indonesia, when his camera stolen by a female crested black macaque monkey. Curious about the seemingly bizarre contraption, the primate began pushing buttons, accidentally taking a series of selfies. Slater posted the photos on his social media only to find that they were quickly copied and posted throughout the web, including articles about the monkey selfies. Slater was not happy and began sending takedown notices to man of the alleged infringers. However, many of those takedowns were ignored responding to Slater that since he was not the one who took the photos, then he was not the copyright holder and so had no right to request removal. The blogosphere erupted with posts and comments posing the question: Who owns the copyright in a monkey selfie. Meanwhile, Slater has continued to request takedowns from various sites over the past three years.

Now the story is going viral again thanks to Wikimedia and a false report in The Telegraph. Wikimedia posted an updated to its transparency report, explicitly discussing why the Macaque Selfie was not removed. The Telegraph’s Mathew Sparks wrote an article claiming that Wikimedia editors refused to remove the monkey selfie at Slater’s request because Slater didn’t own the copyright; the macaque holds the copyright.

The article is wrong. So its’ time to set the record straight, once again, and provide an analysis of the reasons behind Sparks, Slater and the public’s misunderstanding of this issue.

Why is The Telegraph’s Article Wrong?

First let’s look at Wikimedia’s and The Telegraph’s statement so we can see where Sparks went wrong:

WikimediaWe received a takedown request from the photographer, claiming that he owned the copyright to the photographs. We didn’t agree, so we denied the request.

The TelegraphWikimedia, the non-profit organization behind Wikipedia, has refused a photographer’s repeated requests to stop distributing his most famous shot for free – because a monkey pressed the shutter button and should own the copyright. 

The Monkey Selfie

On first glance, Sparks’ conclusion might seem logical; if the monkey doesn’t own the picture, then the photographer must. Unfortunately, that logic is based on a faulty premise. Sparks assumes only two possible outcomes, “if not A then B” but never considers that there may be an additional choice, “if not A, then B or C.” The extra possibility, C, is that nobody owns the photo; it is in the public domain.

Had Sparks done his due diligence, he would have seen that the Copyright Act explicitly addresses the issue of non-humans and copyright protection:

503.03(a) Works-not originated by a human author.

In order to be entitled to copyright registration, a work must be the product of human authorship. Works produced by mechanical processes or random selection without any contribution by a human author are not registrable.

The Monkey Selfie Issue Highlights an Educational Failure

So why do Sparks, Slater and editors at The Telegraph all believe that Sparks’ conclusion is correct? Why didn’t anyone consult an attorney? Is it just lazy reporting or something deeper? The online magazine, Tech Dirt, suggests that the monkey selfie problem stems from the way those knowledgeable about copyright express that knowledge to the public. I am guilty of this myself.

Too often, when explaining copyright issues to the public, experts “dumb down” the analysis to bullet points or simple statements. We say things like, “Copyright is automatic. As soon as the photographer presses the camera shutter, he or she receives copyright protection in the resulting photo.” While the simple statement is easier to understand, it also has several negative repercussions such as people thinking that someone must own the photos, as in the case here or making people believe registration the Copyright Office is unnecessary. After all, if copyright is automatic, then why bother registering. Most people don’t realize that registration provides significant advantages. For example, only about 2% of professional photographers register their photos.

If the public learned the underlying concepts rather than a series of memorable disparate rules, they could analyze the legal issues for themselves. Sure, the law can be dry and uninteresting, at times. However, there are many who want to know more, like the readers of this blog. While Tech Dirt’s hypothesis may be correct, it can be changed.

Monkey Selfie

Copyright Law, a Primer

So it is in the spirit of providing a broader depth of knowledge her is a short primer on a basic rule of copyright law.

Copyright protection is only available for an original works of authorship, fixed in a tangible medium that has a minimal degree of creativity.

If something doesn’t have all three of these pieces, it is not copyrightable. So let’s parse out this statement.

First, not everything can be an original work of authorship? What might not fit this definition? How about facts? If a statement is just a fact, like the weather or a list of names, it is not an original work. It is not something that came from your creative brain. Nor is copying someone else’s work. That work is only original for its creator, not the one copying. Although, take that work and use it to make something else, and then it may rise to the level of originality necessary to receive copyright protection.

Fixed in a tangible medium means the work is not just in your head. Your artistic work has been put to paper or imprinted onto film, a digital sensor, or computer memory chip. If the work must be tangible, then ideas that reside only in our minds, aren’t copyrightable. However, once you express the idea, by putting words on a page, paint on canvas, or doodles on a napkin, the expression of the idea will receive copyright protection. That’s why we can have two movies with the same idea, or artist copy particular styles. Your version of a Warhol will not infringe on a Warhol.

Finally, copyright requires some creativity, but more than some might think. Headlines, slogans, names and titles will not receive copyright protection. Short phrases don’t rise to the level of creativity required. As an example, the Faulkner Estate sued Woody Allen for using the phrase, “The past is never dead. It’s not even past,” in the movie Midnight in Paris. The court dismissed the case concluding that the phrase did not rise to the level of copyright protection.

Now let’s put it all together in a hypothetical scenario. Imagine that you are at the Museum of Modern Art (MoMA) in New York City taking photos of people that are viewing Van Gogh’s The Starry Night. As soon as you click the shutter, you have created a copyrighted work. Why? First, the photo is original; nobody has that exact shot with those people, in those positions. Second, the photo has some creativity. You decided when to take the picture, what positions the people were in and the photo’s angle. Finally, the image was imprinted on the camera sensor, so it is fixed in a tangible medium. But now imagine walking up to the Van Gogh and filling the whole frame with the painting. That photo cannot receive copyright protection. It is not an original work; other people have exactly the same photo. And it is not creative, merely a reproduction of Van Gogh’s painting.

Now, having discussed the rule above; would the macaque hold the copyright for its selfie? Hopefully you answered, no. 503.03(a) Works-not originated by a human author is part of the Copyright Act partly due to this answer.

Ok, now let’s take the analysis a bit further. If the monkey cannot be a copyright holder, then does that mean the copyright is held by the photographer, as Sparks and Slater think? Not likely. The photo is not Slater’s original work or a product of his creativity. He only owns the camera where the image is fixed. If the photo is not Slater’s, nor the Macaque’s we must logically conclude that the work has no copyright and is, therefore, in the public domain, free for anyone to use. Now (if you got this far) go back and read the Wikimedia statement. Do you think Sparks should retract his article?

One last point, this analysis is based on U.S law. For an analysis based on international law, see Can We Subpoena The Monkey?

Do you have a different take on the monkey selfie issue? Let us know.

About the author

Steve Schlackman

As a photographer and Patent Attorney with a background in marketing, Steve has a unique perspective on art and law. Should you have any questions on Intellectual Property contact him at [email protected] His photography can be seen online at Fotofilosophy.com or on display at the Emmanuel Fremin Gallery in New York City.

7 Comments

Click here to post a comment

Your email address will not be published. Required fields are marked *

  • The citation you’re relying on re: “works not originated by a human author” is NOT from the Copyright Act. It is from a US Copyright Office circular, and represents the Office’s guidelines for interpreting the law. This means that it has much less weight than the text of the actual statute or court’s interpretation of the law. I still think there’s a great case against allowing the monkey to hold copyright in this image, but that case shouldn’t rest on a misrepresentation of the law.

  • “For example, only about 2% of professional photographers register their photos.”

    Two-percent seems high! Steve, how did you arrive at that number?

  • Wholly disagree… The photographer owning, losing and finding the camera, then posting the photo makes him the owner of this photo. The photographer recognizing the photo as art makes it art and makes it his.

    • You certainly can disagree, but you must look at this situation from a legal perspective not a personal one. To receive a copyright, the work must be original. The author must have created the work, independently. The work must be an execution of his own idea; one that creates his own aesthetic and meaning. As well,the work must have a modicum of creativity from the author.

      The monkey photo was not the creative genius of the camera owner. Slater did not come up with the idea for having the monkey steal his camera. He did not decide how the monkey should hold the camera or the angle of the photo. He was merely the owner of the equipment. So Wikipedia, (correct in my opinion), does not recognize Slater as the copyright holder. Instead, the photo is likely in the public domain. Of course, the case has not been decided by the courts, but that would be the most likely outcome.

      Recognizing something as art does not make it that person’s copyright. For example, if someone saw a piece of wood with an amazing pattern and hung it on the wall, that wood piece is not copyrightable. It would require more creativity to gain copyright protection.

  • What if a creator uses an animal as a tool to create a style or a particular image…like placing a go pro on the back of a bird. …does the creative concept belong to the creative mind that took the steps to make it happen in order to achieve the spontaneous effect imagined. Could the photographer own a copy right to that footage?

    • Thats a good question. In that case, I would say the copyright is the photographers. Think of it as using a drone. Unlike in this situation where the photographer’s camera was stolen, and the pictures were accidental.

Orangenius

We built Orangenius to help creators succeed. Our comprehensive platform takes the guesswork out of the business of art, so you can focus on creating. Click to see how Orangenius is revolutionizing the creative economy.

JOIN FOR FREE

The Latest From Artrepreneur

  • A Recruiter’s Advice for your Video or Motion Design Reel

    Creative Circle recruiter Brooks Rowlett sifts through hundreds of motion design reels and video editor portfolios each week. Here, he shares his best advice for motion designers and video editors looking to land their next big gig. The post A […]

  • From Tattoo Artist to Brand Empire: The Rise of the Ink Mogul

    The savvy tattoo artist uses brand recognition to launch a multimedia business. These four artists have leveraged their underground celebrity status to build a brand empire, complete with product lines, book deals, and TV contracts. The post From […]

  • Exploring the Intersection of Art and Technology

    The advent of technology is re-shaping the practice of art. These educational institutions, artists, and startups are exploring art and technology's convergence in today's increasingly digital world. The post Exploring the Intersection of Art and […]

  • Work with an Artist Mentor to Get Your Career on Track

    Many of the world's most recognized artists sought inspiration and guidance from their peers. Gain insight into your practice and learn about the business of art by finding an artist mentor whose career aligns with your own vision for success. The […]

  • Why Artists Need to Make Copyright Registration a Priority

    Sharing, posting, and distributing your work online is easier than ever - but often times, visual artists find themselves dealing with online piracy issues as a result of that practice. Initiating a copyright registration routine can curb the […]

  • How Artists on Social Media Can Grow Their Following

    By sticking to the tenets of the social media pyramid, artists on social media can develop an engaged audience. The post How Artists on Social Media Can Grow Their Following appeared first on Artrepreneur. […]

  • How [and Where] to Submit an Art Fair Application

    Submitting an art fair application doesn't have to be an arduous process. We break down which fairs are currently accepting submissions, and how you should apply. The post How [and Where] to Submit an Art Fair Application appeared first on […]

  • The Paperwork Behind Your Art Business [Part I]

    In this ongoing series, we'll review the various documents needed to get your art business up and running. First up: Crafting your artist proposal. The post The Paperwork Behind Your Art Business [Part I] appeared first on Artrepreneur. […]

  • A Creative Career Coach Outlines a Strategy for the Working Artist

    Marc Zegans coaches artists planning the next move in their art careers. Here, he shares his proven approach for developing your practice as a working artist. The post A Creative Career Coach Outlines a Strategy for the Working Artist appeared first […]

  • How One Artist Uses Instagram to Land Consistent Illustration Gigs

    Illustrator Maria Luque's secret to landing a steady stream of illustration gigs? Just be consistent and post regularly on Instagram. The post How One Artist Uses Instagram to Land Consistent Illustration Gigs appeared first on Artrepreneur. […]

  • Artists Who Failed – And Found Success Anyway

    Some of the world's most successful artists weren't always so revered. Meet five artists who failed to develop their art careers during their lifetime. The post Artists Who Failed – And Found Success Anyway appeared first on Artrepreneur. […]

  • How Do Online Content Moderation Policies Treat Nudity in Art?

    As Facebook's online content moderation policies come under fire, we review creative platform Orangenius' policy on nudity in art. The post How Do Online Content Moderation Policies Treat Nudity in Art? appeared first on Artrepreneur. […]

  • Self Employed? Five Ways To Get Into the Creative Habit

    Self-employed artists don't always leave room for inspiration. Boost productivity and get into the creative habit with these proven strategies. The post Self Employed? Five Ways To Get Into the Creative Habit appeared first on Artrepreneur. […]

  • A Creative in a Corporate Organization: Related Group’s Art Department

    In this ongoing series, we explore the creative roles available in the most unlikely of corporations. Our first installment talks to Patricia Hanna, the Art Director of Related Group. The post A Creative in a Corporate Organization: Related […]

  • Five Alternative Income Strategies for Independent Artists

    Independent artists shouldn't have to go hungry. We explore five alternative income streams to keep your art business on track. The post Five Alternative Income Strategies for Independent Artists appeared first on Artrepreneur. […]