Eric Saltzman is a founder and board member of Creative Commons. Creative Commons is a nonprofit organization that enables the sharing and use of creativity and knowledge through free legal tools. CC works to realize the full potential of the Internet — universal access to research and education, full participation in culture — to drive a new era of development, growth, and productivity. CC’s free, easy-to-use copyright licenses provide a simple, standardized way to give the public permission to share and use your creative work — on conditions of your choice. CC licenses let you easily change your copyright terms from the default of “all rights reserved” to “some rights reserved.”

A 1972 graduate of Harvard Law School, Eric F. Saltzman began his career as a criminal defense attorney in Seattle’s and Boston’s public defender offices. While teaching in Harvard Law School’s Criminal Trial Advocacy program, Saltzman took up filmmaking at MIT’s Film Section and re-creating trials as teaching tools. Moving from re-creation to verite, Saltzman introduced cameras into actual courtrooms with The Shooting of Big Man: Anatomy of a Criminal Case (a two hour special on ABC News in 1979). For CBS News, he produced and directed Miami: The Trial That Sparked the Riots, an investigation of a policekilling, its cover-up, and the ultimate trial of the police officers. These and other films won Emmy and ABA Silver Gavel awards, among others. In the mid-1980s, Saltzman entered the the film business, acquiring and licensing libraries of classic motion picture and television programs for then emerging media such as cable, microwave and satellite transmission. In 2000-2002, Saltzman was executive director of Harvard’s Berkman Center for Internet & Society. He is a member of the bars of Washington State and the Commonwealth of Massachusetts, and on the boards of not-for-profits in the area of race and poverty and the extension of Internet services to the human rights and legal services sectors.

The Life and Death of Images with Lynne Tillman and Eduardo Cadava

Written on May 17, 2013 at 12:23 pm, by

Vision Machines with Marvin Heiferman and Andreas Velten

Written on May 17, 2013 at 12:22 pm, by

The Online Image with Laurel Ptak and Andrew Wilson

Written on May 17, 2013 at 12:21 pm, by

Image Sharing and Copyleft with Eric Saltzman

Written on April 30, 2013 at 1:36 pm, by

Photographic Truths with Mia Fineman and Fred Ritchin

Written on April 30, 2013 at 1:33 pm, by

Can Photographs Claim Rights? with Thomas Keenan and Ariella Azoulay

Written on April 30, 2013 at 1:32 pm, by

The Ontology of Photographic Seeing with Todd Cronan and Simon Critchley

Written on April 30, 2013 at 1:29 pm, by

Photography and Political Agency? with Victoria Hattam and Hito Steyerl

Written on April 30, 2013 at 1:28 pm, by

New Frontiers with Doug Rickard and Joshua Chuang

Written on April 30, 2013 at 1:26 pm, by

Round Table on Photography Education

Written on April 30, 2013 at 1:25 pm, by

A Thing Like You and Me


“To participate in the image as thing means to participate in its potential agency – an agency that is not necessarily beneficial, as it can be used for every imaginable purpose. It is vigorous and sometimes even viral. And it will never be full and glorious, as images are bruised and damaged, just as everything else within history. History, as Benjamin told us, is a pile of rubble. Only we are not staring at it any longer from the point of view of Benjamin’s shell- shocked angel. We are not the angel. We are the rubble. We are this pile of scrap.” Hito Steyrel, excerpt from A Thing Like You and Me, e-flux Journal #15, April 2010

Download PDF Here

Written on April 2, 2013 at 12:19 pm, by

Scan Ops


Andrew Norman Wilson, The Inland Printer-164, 2012

“At some point later I heard about the scanning mistakes and accidents that occur in Google’s book-scanning operations and decided to look closer. The work of the ScanOps employees is an interesting hybrid—it is a labor of digitizing informational materials that requires no cognitive involvement with the content of those materials. The labor process is quite Fordist—press button, turn page, repeat.

The workers compose part of the photographic apparatus, which in a broad sense includes not only the machinery but the social systems in which photography operates. The anonymous workers, Google founders Sergey Brin and Larry Page, the pink “finger condoms,” infrared cameras, the auto-correction software, the capital required to fund the project, the ink on my rag-paper prints, me—we’re all part of it.” –– Andrew Norman Wilson, Interview with Laurel Ptak, Aperture, Issue 210, Spring 2013

Full Interview Here

Written on March 18, 2013 at 2:03 pm, by

Theses on the Concept of the Digital Simulacrum


“The deceptive nature of the digital image is not evoked by a certain resemblance of original and copy, or reality and its simulation. No matter whether faithful or unfaithful, the similitude of the simulacrum seems no longer a question of likeness or unlikeness. Instead, similarity has turned into simultaneity; it has become a question entirely occupied by time: synchronized time and temporal command.

The digital image is characterized by a promise of instant availability in so-called real time that comes along with the idea of global compatibility. Today, the illusionary character of the image lies in the proclamation of immediate access to the recorded data as well as in the idea of unlimited exchangeability bypassing any actual resemblance.” –– Florian Schneider

Full Text Here

Thanks to Laurel Ptak

Written on March 15, 2013 at 7:01 pm, by

The Atlas Detector at CERN

Written on March 14, 2013 at 1:11 am, by

Step Into Liquid


Image from Wolfgang Tillmans’s FESPA Digital/Fruit Logistica (Walther König, 2012)

“A photographic ink-jet print on paper, an iPad drawing printed on ink-jet paper, and an original design printed on ink-jet paper are all technically exactly the same. Perhaps it’s time to rethink the remarkably persistent categorization of artworks. In my view, we are all making pictures.” –– Wolfgang Tillmans, Interview with Michelle Kuo, Artforum, September 2012

Download PDF HERE

Written on March 13, 2013 at 9:26 pm, by Toward a New Curriculum


Image: Takeshi Murata, 3 AM, 2012 Courtesy the artist
and Salon 94, New York

Murata’s computer-generated series of photographs, Synthesizers, begins with backgrounds “sculpted” by the artist using 3-D software he learned to use through online tutorials. The “sets” are then filled with readymade 3-D elements purchased online.


“What’s hidden beneath the user interface or the sleek camera casing needs to be exposed, not only made visible and comprehensible to the photographic practitioner, but also taken apart, deconstructed, and mined for creative potentials.”

Download PDF Here

Written on March 12, 2013 at 1:33 am, by

Machine Vision and –– Cats


“Presented with 10 million digital images found in YouTube videos, what did Google’s brain do? What millions of humans do with YouTube: looked for cats.”

Link to article:

Written on March 12, 2013 at 1:24 am, by

Memento Camera: Photograph Your Life Every 30 Seconds



“Ordinary moments can turn out to be special. But the only way to see that is to capture everything.”

Link here:

Written on March 11, 2013 at 5:09 pm, by

Photography and Photographic Education in the USA, Image Journal, 1971


“Too many people think they can change the medium immediately

—I think it may take five years”. – Nathan Lyons, 1971

Download PDF Here

Written on March 8, 2013 at 3:22 pm, by

Save the Date

The Photographic Universe II brings together a range of leading practitioners, scientists, theoreticians, historians, and philosophers to consider and reflect on current discussions in photography at a pivotal moment in its history. The unique format of the conference will consist of one-on-one conversations between two individuals from disparate professional and research backgrounds. The conference will conclude with a roundtable focusing on photographic education.

Dates: April 10-11, 2013

Location: Theresa Lang Student and Community Center, 55 West 13th Street, NYC

The event is free and open to the public.

Written on February 16, 2013 at 6:29 pm, by