"... to take and use as one’s own (the thoughts, writings, or
inventions of another person); to copy (literary work or ideas)
improperly or without acknowledgement."
Justice Harrington, Federal Court of Canada (source)
Justice Harrington, Federal Court of Canada (source)
In an online world, the plagiarism of one's work is hard to monitor. It does stand out, though, when it is done on a niche subject in a small community.
About a decade ago, a Facebook group called Vintage Winnipeg started up and soon became a pain for people who collected and uploaded images. The page would raid photo sites, online archives, blog posts, etc. to take photos and post them as their own without crediting the source. It is a big reason why postcard / glass negative / photo collectors don't share their new finds publicly anymore.
The well of photo sources for Vintage Winnipeg to vacuum up must have dried up as earlier this year the "Vintage Winnipeg Blog" began. Given its penchant for not crediting other people, I thought I would take a look at their posts. Here's what I found.
Part 1 - Influenza in Winnipeg post
Part 2 - Lewis B. Foote post
Part 3 - Jessie Kirk post
Part 4 - Assiniboine Park Zoo post
Part 5: - Winnipeg City Hall
Five more to come !!
A comparison of the Lewis Benjamin Foote post at the “Vintage Winnipeg Blog” and a book review of Imagining Winnipeg: History through the Photographs of L.B. Foote by Michał Kozłowski for GEIST Magazine. Can you spot any similarities?
In addition, Kozloski posted a selection of images with a description, crediting the U of M Archives where the Foote Collection is kept and these images come from, and to the publisher who procvided him with the images for reuse in his book review. Vintage Winnipeg Blog uploaded an array of images without and descriptions or credits.
Vintage Winnipeg Blog: “Lewis Benjamin Foote (1873–1957), perhaps the best-known Winnipeg photographer, claimed that he ran away from home in Newfoundland in order to avoid a life of fishing cod. He travelled through the Atlantic provinces and worked as a farmhand, cleaned printing presses, hawked Christmas cards and silverware, and held many other jobs. In Nova Scotia he sold coupons for sessions at the Cogswell Photo Company, mostly to young military men and their girlfriends and to working-class families.”
Michał Kozłowski Book Review in GEIST Magazine: “Lewis Benjamin Foote (1873–1957), perhaps the best-known Winnipeg photographer, claimed that he ran away from home in Newfoundland in order to avoid a life of fishing cod. He travelled through the Atlantic provinces and worked as a farmhand, cleaned printing presses, hawked Christmas cards and silverware, and held many other jobs. In Nova Scotia he sold coupons for sessions at the Cogswell Photo Company, mostly to young military men and their girlfriends and to working-class families.”
In addition, Kozloski posted a selection of images with a description, crediting the U of M Archives where the Foote Collection is kept and these images come from, and to the publisher who procvided him with the images for reuse in his book review. Vintage Winnipeg Blog uploaded an array of images without and descriptions or credits.
Vintage Winnipeg Blog: “Lewis Benjamin Foote (1873–1957), perhaps the best-known Winnipeg photographer, claimed that he ran away from home in Newfoundland in order to avoid a life of fishing cod. He travelled through the Atlantic provinces and worked as a farmhand, cleaned printing presses, hawked Christmas cards and silverware, and held many other jobs. In Nova Scotia he sold coupons for sessions at the Cogswell Photo Company, mostly to young military men and their girlfriends and to working-class families.”
Michał Kozłowski Book Review in GEIST Magazine: “Lewis Benjamin Foote (1873–1957), perhaps the best-known Winnipeg photographer, claimed that he ran away from home in Newfoundland in order to avoid a life of fishing cod. He travelled through the Atlantic provinces and worked as a farmhand, cleaned printing presses, hawked Christmas cards and silverware, and held many other jobs. In Nova Scotia he sold coupons for sessions at the Cogswell Photo Company, mostly to young military men and their girlfriends and to working-class families.”
Vintage Winnipeg Blog: “At this time he began to work
with a photographer, shooting community events. He developed a scheme to sell
portraits of clergymen to members of their congregations, and he and his wife
continued moving west (possibly in pursuit of the clergyman-congregation
market) until 1902. That year they settled in Winnipeg, where Foote continued
photographing clergymen for a Winnipeg studio. In 1909 he opened his own studio
on Main Street. He worked there until 1932, when a fire destroyed the building.”
Michał
Kozłowski Book Review in GEIST Magazine: “At this time he began to work
with a photographer, shooting community events. He developed a scheme to sell
portraits of clergymen to members of their congregations, and he and his wife
continued moving west (possibly in pursuit of the clergyman-congregation
market) until 1902. That year they settled in Winnipeg, where Foote continued
photographing clergymen for a Winnipeg studio. In 1909 he opened his own studio
on Main Street. He worked there until 1932, when a fire destroyed the building.”
Vintage Winnipeg Blog: “Foote arrived in Winnipeg during
a huge boom, some twenty years after the Canadian Pacific Railway linked the
city to the east. Winnipeg had about 50,000 residents when Foote arrived;
within twenty years it was bustling with a population of 180,000.”
Michał
Kozłowski Book Review in GEIST Magazine: “Foote arrived in Winnipeg during a huge boom,
some twenty years after the Canadian Pacific Railway linked the city to the
east. Winnipeg had about 50,000 residents when Foote arrived; within twenty
years it was bustling with a population of 180,000.”
Vintage Winnipeg Blog: “L.B. Foote, as he was known, took
his first photographs at the turn of the twentieth century, a mere sixty years
after the camera was invented. His motivations were mainly commercial, and he
taught himself photography by simply going out into the city and taking
pictures. During the boom years he turned his camera on new building
developments, busy sidewalks, weddings, funerals and wealthy families who
commissioned portraits, as well as poor families in the North End—all imbued
with the energy of a burgeoning city.”
Michał Kozłowski Book Review in GEIST Magazine: “L.B. Foote, as he was known, took his first photographs at the turn of the twentieth century, a mere sixty years after the camera was invented. His motivations were mainly commercial, and he taught himself photography by simply going out into the city and taking pictures. During the boom years he turned his camera on new building developments, busy sidewalks, weddings, funerals and wealthy families who commissioned portraits, as well as poor families in the North End—all imbued with the energy of a burgeoning city.”
Michał Kozłowski Book Review in GEIST Magazine: “L.B. Foote, as he was known, took his first photographs at the turn of the twentieth century, a mere sixty years after the camera was invented. His motivations were mainly commercial, and he taught himself photography by simply going out into the city and taking pictures. During the boom years he turned his camera on new building developments, busy sidewalks, weddings, funerals and wealthy families who commissioned portraits, as well as poor families in the North End—all imbued with the energy of a burgeoning city.”
Vintage Winnipeg Blog: “His early photographs reflect
inquisitiveness, an eagerness to engage with photography and with his new home.
He was drawn to a wide range of subjects, locations and experiments with
technique. Some of his early photographs anticipate the urban photography that
came to define much of the look of the twentieth century: his photograph of a
man crossing tram tracks at Portage and Main is reminiscent of the photography
of Cartier-Bresson thirty years later; his photograph of a group of people
viewing a corpse bears close resemblance to Eugene Smith’s Women Mourning
at Wake of Juan Larra, taken years later.”
Michał Kozłowski Book Review in GEIST Magazine: “His early photographs reflect inquisitiveness, an eagerness to engage with photography and with his new home. He was drawn to a wide range of subjects, locations and experiments with technique. Some of his early photographs anticipate the urban photography that came to define much of the look of the twentieth century: his photograph of a man crossing tram tracks at Portage and Main is reminiscent of the photography of Cartier-Bresson thirty years later; his photograph of a group of people viewing a corpse bears close resemblance to Eugene Smith’s Women Mourning at Wake of Juan Larra, taken years later.”
Michał Kozłowski Book Review in GEIST Magazine: “His early photographs reflect inquisitiveness, an eagerness to engage with photography and with his new home. He was drawn to a wide range of subjects, locations and experiments with technique. Some of his early photographs anticipate the urban photography that came to define much of the look of the twentieth century: his photograph of a man crossing tram tracks at Portage and Main is reminiscent of the photography of Cartier-Bresson thirty years later; his photograph of a group of people viewing a corpse bears close resemblance to Eugene Smith’s Women Mourning at Wake of Juan Larra, taken years later.”
Vintage Winnipeg Blog: “Foote’s later photographs are
more staid. He seems to have photographed the entire Winnipeg General Strike of
1919 from a second-storey window, far away from the clashing police and
strikers. His photographs of Prince Edward emanate from a standard template of
portrait photography rather than an encounter with his subject. Photographs of
munitions factories and bus depots, of Winnipeg during World War II, resemble
postcards rather than evidence of life.”
Michał Kozłowski Book Review in GEIST Magazine: “Foote’s later photographs are more staid. He seems to have photographed the entire Winnipeg General Strike of 1919 from a second-storey window, far away from the clashing police and strikers. His photographs of Prince Edward emanate from a standard template of portrait photography rather than an encounter with his subject. Photographs of munitions factories and bus depots, of Winnipeg during World War II, resemble postcards rather than evidence of life.”
Michał Kozłowski Book Review in GEIST Magazine: “Foote’s later photographs are more staid. He seems to have photographed the entire Winnipeg General Strike of 1919 from a second-storey window, far away from the clashing police and strikers. His photographs of Prince Edward emanate from a standard template of portrait photography rather than an encounter with his subject. Photographs of munitions factories and bus depots, of Winnipeg during World War II, resemble postcards rather than evidence of life.”
Vintage Winnipeg Blog: “By then Foote had been
photographing Winnipeg for more than forty years, and Winnipeg had long passed
its heyday; building slowed down, the Great Depression hit hard; the population
grew by only 50,000 from 1920 to 1950. As the boomtown energy faded from the
city, so did it fade from Foote’s photographs.”
Michał Kozłowski Book Review in GEIST Magazine: “By then Foote had been photographing Winnipeg for more than forty years, and Winnipeg had long passed its heyday; building slowed down, the Great Depression hit hard; the population grew by only 50,000 from 1920 to 1950. As the boomtown energy faded from the city, so did it fade from Foote’s photographs.”
Michał Kozłowski Book Review in GEIST Magazine: “By then Foote had been photographing Winnipeg for more than forty years, and Winnipeg had long passed its heyday; building slowed down, the Great Depression hit hard; the population grew by only 50,000 from 1920 to 1950. As the boomtown energy faded from the city, so did it fade from Foote’s photographs.”
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