Latest news with #GettyImages'
The Advertiser
2 hours ago
- Business
- The Advertiser
Getty argues its UK copyright case does not threaten AI
Getty Images' landmark copyright lawsuit against artificial intelligence company Stability AI has begun at London's High Court, with Getty rejecting Stability AI's contention the case poses a threat to the generative AI industry. Seattle-based Getty, which produces editorial content and creative stock images and video, accuses Stability AI of using its images to "train" its Stable Diffusion system which can generate images from text inputs. Getty, which is bringing a parallel lawsuit against Stability AI in the United States, says Stability AI unlawfully scraped millions of images from its websites and used them to train and develop Stable Diffusion. Stability AI - which has raised hundreds of millions of dollars in funding and in March announced investment by the world's largest advertising company, WPP - is fighting the case and denies infringing any of Getty's rights. Before the trial began on Monday, Stability AI's spokesperson said "the wider dispute is about technological innovation and freedom of ideas". "Artists using our tools are producing works built upon collective human knowledge, which is at the core of fair use and freedom of expression," the spokesperson said. In court filings, Stability AI lawyer Hugo Cuddigan said Getty's lawsuit posed "an overt threat to Stability's whole business and the wider generative AI industry". Getty's lawyers said that argument was incorrect and their case was about upholding intellectual property rights. "It is not a battle between creatives and technology, where a win for Getty Images means the end of AI," Getty's lawyer Lindsay Lane told the court. She added: "The two industries can exist in synergistic harmony because copyright works and database rights are critical to the advancement and success of AI ... the problem is when AI companies such as Stability want to use those works without payment." Getty's case is one of several lawsuits brought in the United Kingdom, the US and elsewhere over the use of copyright-protected material to train AI models, after ChatGPT and other AI tools became widely available more than two years ago. Creative industries are grappling with the legal and ethical implications of AI models that can produce their own work after being trained on existing material. Prominent figures including Elton John have called for greater protections for artists. Lawyers say Getty's case will have a major effect on the law, as well as potentially informing government policy on copyright protections relating to AI. "Legally, we're in uncharted territory. This case will be pivotal in setting the boundaries of the monopoly granted by UK copyright in the age of AI," Rebecca Newman, a lawyer at Addleshaw Goddard, who is not involved in the case, said. Cerys Wyn Davies, from the law firm Pinsent Masons, said the High Court's ruling "could have a major bearing on market practice and the UK's attractiveness as a jurisdiction for AI development". Getty Images' landmark copyright lawsuit against artificial intelligence company Stability AI has begun at London's High Court, with Getty rejecting Stability AI's contention the case poses a threat to the generative AI industry. Seattle-based Getty, which produces editorial content and creative stock images and video, accuses Stability AI of using its images to "train" its Stable Diffusion system which can generate images from text inputs. Getty, which is bringing a parallel lawsuit against Stability AI in the United States, says Stability AI unlawfully scraped millions of images from its websites and used them to train and develop Stable Diffusion. Stability AI - which has raised hundreds of millions of dollars in funding and in March announced investment by the world's largest advertising company, WPP - is fighting the case and denies infringing any of Getty's rights. Before the trial began on Monday, Stability AI's spokesperson said "the wider dispute is about technological innovation and freedom of ideas". "Artists using our tools are producing works built upon collective human knowledge, which is at the core of fair use and freedom of expression," the spokesperson said. In court filings, Stability AI lawyer Hugo Cuddigan said Getty's lawsuit posed "an overt threat to Stability's whole business and the wider generative AI industry". Getty's lawyers said that argument was incorrect and their case was about upholding intellectual property rights. "It is not a battle between creatives and technology, where a win for Getty Images means the end of AI," Getty's lawyer Lindsay Lane told the court. She added: "The two industries can exist in synergistic harmony because copyright works and database rights are critical to the advancement and success of AI ... the problem is when AI companies such as Stability want to use those works without payment." Getty's case is one of several lawsuits brought in the United Kingdom, the US and elsewhere over the use of copyright-protected material to train AI models, after ChatGPT and other AI tools became widely available more than two years ago. Creative industries are grappling with the legal and ethical implications of AI models that can produce their own work after being trained on existing material. Prominent figures including Elton John have called for greater protections for artists. Lawyers say Getty's case will have a major effect on the law, as well as potentially informing government policy on copyright protections relating to AI. "Legally, we're in uncharted territory. This case will be pivotal in setting the boundaries of the monopoly granted by UK copyright in the age of AI," Rebecca Newman, a lawyer at Addleshaw Goddard, who is not involved in the case, said. Cerys Wyn Davies, from the law firm Pinsent Masons, said the High Court's ruling "could have a major bearing on market practice and the UK's attractiveness as a jurisdiction for AI development". Getty Images' landmark copyright lawsuit against artificial intelligence company Stability AI has begun at London's High Court, with Getty rejecting Stability AI's contention the case poses a threat to the generative AI industry. Seattle-based Getty, which produces editorial content and creative stock images and video, accuses Stability AI of using its images to "train" its Stable Diffusion system which can generate images from text inputs. Getty, which is bringing a parallel lawsuit against Stability AI in the United States, says Stability AI unlawfully scraped millions of images from its websites and used them to train and develop Stable Diffusion. Stability AI - which has raised hundreds of millions of dollars in funding and in March announced investment by the world's largest advertising company, WPP - is fighting the case and denies infringing any of Getty's rights. Before the trial began on Monday, Stability AI's spokesperson said "the wider dispute is about technological innovation and freedom of ideas". "Artists using our tools are producing works built upon collective human knowledge, which is at the core of fair use and freedom of expression," the spokesperson said. In court filings, Stability AI lawyer Hugo Cuddigan said Getty's lawsuit posed "an overt threat to Stability's whole business and the wider generative AI industry". Getty's lawyers said that argument was incorrect and their case was about upholding intellectual property rights. "It is not a battle between creatives and technology, where a win for Getty Images means the end of AI," Getty's lawyer Lindsay Lane told the court. She added: "The two industries can exist in synergistic harmony because copyright works and database rights are critical to the advancement and success of AI ... the problem is when AI companies such as Stability want to use those works without payment." Getty's case is one of several lawsuits brought in the United Kingdom, the US and elsewhere over the use of copyright-protected material to train AI models, after ChatGPT and other AI tools became widely available more than two years ago. Creative industries are grappling with the legal and ethical implications of AI models that can produce their own work after being trained on existing material. Prominent figures including Elton John have called for greater protections for artists. Lawyers say Getty's case will have a major effect on the law, as well as potentially informing government policy on copyright protections relating to AI. "Legally, we're in uncharted territory. This case will be pivotal in setting the boundaries of the monopoly granted by UK copyright in the age of AI," Rebecca Newman, a lawyer at Addleshaw Goddard, who is not involved in the case, said. Cerys Wyn Davies, from the law firm Pinsent Masons, said the High Court's ruling "could have a major bearing on market practice and the UK's attractiveness as a jurisdiction for AI development". Getty Images' landmark copyright lawsuit against artificial intelligence company Stability AI has begun at London's High Court, with Getty rejecting Stability AI's contention the case poses a threat to the generative AI industry. Seattle-based Getty, which produces editorial content and creative stock images and video, accuses Stability AI of using its images to "train" its Stable Diffusion system which can generate images from text inputs. Getty, which is bringing a parallel lawsuit against Stability AI in the United States, says Stability AI unlawfully scraped millions of images from its websites and used them to train and develop Stable Diffusion. Stability AI - which has raised hundreds of millions of dollars in funding and in March announced investment by the world's largest advertising company, WPP - is fighting the case and denies infringing any of Getty's rights. Before the trial began on Monday, Stability AI's spokesperson said "the wider dispute is about technological innovation and freedom of ideas". "Artists using our tools are producing works built upon collective human knowledge, which is at the core of fair use and freedom of expression," the spokesperson said. In court filings, Stability AI lawyer Hugo Cuddigan said Getty's lawsuit posed "an overt threat to Stability's whole business and the wider generative AI industry". Getty's lawyers said that argument was incorrect and their case was about upholding intellectual property rights. "It is not a battle between creatives and technology, where a win for Getty Images means the end of AI," Getty's lawyer Lindsay Lane told the court. She added: "The two industries can exist in synergistic harmony because copyright works and database rights are critical to the advancement and success of AI ... the problem is when AI companies such as Stability want to use those works without payment." Getty's case is one of several lawsuits brought in the United Kingdom, the US and elsewhere over the use of copyright-protected material to train AI models, after ChatGPT and other AI tools became widely available more than two years ago. Creative industries are grappling with the legal and ethical implications of AI models that can produce their own work after being trained on existing material. Prominent figures including Elton John have called for greater protections for artists. Lawyers say Getty's case will have a major effect on the law, as well as potentially informing government policy on copyright protections relating to AI. "Legally, we're in uncharted territory. This case will be pivotal in setting the boundaries of the monopoly granted by UK copyright in the age of AI," Rebecca Newman, a lawyer at Addleshaw Goddard, who is not involved in the case, said. Cerys Wyn Davies, from the law firm Pinsent Masons, said the High Court's ruling "could have a major bearing on market practice and the UK's attractiveness as a jurisdiction for AI development".
CairoScene
14-05-2025
- Entertainment
- CairoScene
How Egypt Looks to the World: A Talk with Getty Images' Rebecca Swift
How Egypt Looks to the World: A Talk with Getty Images' Rebecca Swift When Rebecca Swift speaks about images, she's not talking about pixels and resolutions. She's talking about power - who holds it, who shapes it, and what stories make it past the gatekeepers. As Senior Vice President of Creative Insight at Getty Images, one of the largest and most influential visual media archives in the world, Swift has spent her career studying the mechanics of representation: who gets seen, how they're portrayed, and what that visibility means. This week, she was in Cairo as part of Cairo Photo Week - a city-wide celebration of photography and visual culture that's become a key meeting ground for emerging creatives from across the region. Speaking to CairoScene during her visit, Swift reflected on the unique energy of Egypt's creative community and the importance of platforms like Getty evolving to better reflect the richness of underrepresented perspectives. 'There's a hunger here,' she noted. 'A boldness in how Egyptian photographers and visual storytellers are showing the world who they are - and who they've always been.' For decades, Egypt has often been viewed through a narrow, orientalist lens - pyramids, poverty, revolution. But the new wave of creators is shifting that. They're capturing Cairo's street style with the same reverence once reserved for ancient monuments. They're documenting joy, nuance, absurdity, softness. And perhaps most importantly, they're doing it on their own terms. Getty Images, long regarded as the global default for editorial and commercial visual media, is increasingly opening space for these perspectives. Through contributor outreach, partnerships, and narrative-driven briefs that center local authenticity, the platform is re-examining what 'stock' should look like - and who it should speak for. Swift acknowledged that while progress has been made, the work of rebalancing representation is ongoing. It's about Egyptian creatives taking back authorship and deciding how their culture is framed on the global stage. For a country that has always been photogenic, perhaps the next frontier is not being seen - but being seen accurately.
Business of Fashion
09-05-2025
- Business
- Business of Fashion
How Getty Images Is Evolving for a New Era of Content
In 2025, the media landscape continues to undergo a rapid transformation. Entertainment and social platforms like TikTok and Instagram are constantly driving new forms of content, cultural conversations shaping the zeitgeist, and a demand for immediate, behind-the-scenes access to events, brands and individuals. Meanwhile, technological advancements in spaces like generative AI, and virtual and augmented realities (VR and AR) are transforming how content is created and media users engaged. With this in mind, visual media platform Getty Images — which creates and represents editorial, creative and commercial content across Getty Images, iStock and Unsplash — is transforming its offering. An integral part of Getty Images' new approach is its consultative work with brands on the creative and strategic aspects of content production, acting as a co-creator and advisor to brands on storytelling. For example, Getty Images' teams worked with L'Oréal and Chopard in the editing suite of Cannes, while its archival experts collaborated with Gucci's team on a documentary. Now, BoF sits down with Getty Images' senior director of entertainment content partnerships, Lisa Marie Rae, to further explore the evolving suite of opportunities Getty Images offers its creative partners. Lisa Marie Rae, senior director of entertainment content and partnerships at Getty Images. () How is Getty Images evolving its offering to meet its partner needs today? We are often still perceived as a stock image company or news agency — but that's only a fraction of what we do. We are evolving into a creative and strategic partner to brands, offering full-service content creation, distribution and archival access. Our role today is about capturing moments and helping brands craft compelling visual narratives. The way content is consumed has changed — everything is faster, more visual and more immersive. So, our focus is on creating content that is not only beautiful, but performs — it travels, it engages and lasts beyond the event. Whether we are working on a fashion show, a film festival or a cultural launch, we are looking at how we can tell a bigger story with a brand — through editorial, branded content and everything in between. With over 30 years of experience working across platforms, brand content and global audiences, we know how to meet those moments. What does that look like in practice when working with brands and organisations? It depends on the brand's needs — but increasingly, it is about co-creation. For example, at the amfAR Gala Cannes, we launched a roaming social video studio to capture cinematic, intimate content that felt true to the glamour of the evening. Once guests entered Hôtel du Cap-Eden-Roc, we were on the lawns — not just on the red carpet — capturing moments that were elegant and personal, available to amfAR during the event in near real time and distributed exclusively by Getty Images to global media. It was a way of telling the story of the event in a more elevated, human way. When Gucci appointed Sabato De Sarno as its creative director, we consulted with the brand on content and licensing for the documentary, 'Who Is Sabato De Sarno?' We brought in our archive — one of the largest in the world — and worked closely with the team to curate and license fashion history that contextualised his creative vision. On top of that, we produced content from his debut fashion shows and events and managed their global distribution. It was a great example of how we can offer support — from heritage to live content. Our crown jewel is facilitating brands in creating multi-layered experience — through digital, physical and historical content. For example, we also worked with Dior's heritage team, who visited our archive to uncover material that supports their brand story. How do you help brands track the performance and impact of their visual content? We are developing a proprietary data and insights product that helps brands understand how their content performs: through what is resonating, what is being shared and what generates engagement. We use that to inform everything from pre-production to distribution strategies, so that the content we create isn't just beautiful, but purposeful. Our focus is on creating content that is not only beautiful, but performs — it travels, it engages and lasts beyond the event. At Paris Fashion Week, for example, our team pulls coverage across all access points — runway, backstage, street style and front row. We give brands a multi-dimensional view of their presence and then help them decide how best to use it. Ultimately, our role is to ensure that the content lives on — whether through editorial platforms, brand channels or social media. We are connecting the dots between capture, creativity and distribution. The content isn't just seen — it becomes part of the culture. How are you meeting the demand from clients for speed-to-market? Events today are social-first and we work with brands to facilitate this: as demonstrated with L'Oréal and Chopard at Cannes, who are in the edit suite with us during Cannes, cherry-picking the best shots in real-time. Our ability to push content live is essential. When we talk about talent-led or creator-led content, that's where our partnership with Greenfly really shines. Greenfly is a content collaboration platform that enables brands, sports teams and organisations to easily collect, organise and distribute media through their networks of creators and influencers. It allows us to distribute content in real time, so talent is able to share it straight to their own channels while the moment is still live. We build our international team based on client briefs. We understand the full scope of what's needed — from different formats to platform-specific content — and we're poised to stay ahead of what our clients are seeking. Instead of reacting to a shift in culture of aesthetics after the fact, we're already building a roster that reflects those evolving needs. What new technologies is Getty Images investing in for physical event coverage? We are constantly experimenting with new ways of bringing our content to life. Our portable video studios are a great example as they allow us to move beyond the red carpet and capture more intimate — and cinematic — moments. The gear is lightweight and flexible, so we can be in spaces we were previously held back from. This makes a huge difference in how we capture talent and the kind of stories we can tell. A few years ago, we did a cool video for Roberto Cavalli with Eva Herzigova — it followed her whole journey at the Cannes Film Festival, from getting in the car, and getting dressed, to arriving at the red carpet. With these beautiful shots looking out over the city, we created a cinematic piece that worked brilliantly across multiple platforms. We are connecting the dots between capture, creativity and distribution. The content isn't just seen — it becomes part of the culture. We are also using robotic cameras more strategically. They have always been a part of our sports coverage, but now we use them at major entertainment events to capture differentiated access points and creative angles. At the Met Gala, for example, robotic cameras give us sweeping, elevated perspectives of the carpet. It is perfect for those huge fashion moments where scale and drama matter. How are you facilitating brand needs for meeting consumers in the virtual event space? We are seeing brands lean into advancements in AR and VR to create new and exciting immersive experiences. Take Travis Scott's collaboration with Fortnite, for example. He released a new track during the virtual performance and it reached across demographics. It's multi-layered and lives beyond the moment, and connected directly with the consumers who'll actually go out and buy it. Another great example is Louis Vuitton, who offered an immersive experience called 'Asnières Immersive' that transported users to the company's historic family home and atelier in Asnières, France, through a VR journey into the history and craftsmanship of the brand. The hours of incredible footage captured combined heritage storytelling with modern tech, pop-up experiences, a première and a party that followed. It extended the life of that campaign in a really smart way. We have also seen this happening with eSports. Our Formula 1 coverage is world-class, but when e-gaming started to boom, we asked ourselves: 'How can we capture what's happening in-game?' The same goes for the Metaverse and fashion events — we need to be in those spaces, creating content that feels as real and meaningful as anything happening IRL. That's really where we see immersive technology thriving — you have the digital storytelling happening on one level and the in-person activations that bring it to the community on another. Capturing the live activations to create content for use across immersive and traditional storytelling is where we can support brands in connecting both worlds and taking the experience to the widest possible audience. This is a sponsored feature paid for by Getty Images as part of a BoF partnership.
Yahoo
05-05-2025
- Entertainment
- Yahoo
Getty Images Selected as Official Photographer of 2025 Met Gala
A Media Snippet accompanying this announcement is available in this link. NEW YORK, May 05, 2025 (GLOBE NEWSWIRE) -- Getty Images (NYSE: GETY), a preeminent global visual content creator and marketplace, has once again been named the Official Photographer of The Metropolitan Museum of Art's Costume Institute Benefit, more commonly known as The Met Gala. The gala, which takes place on May 5, is the premier event on the international fashion calendar, bringing together icons from the world of fashion, film, music, sports, business, and art. For the seventh consecutive gala, Getty Images' award‑winning entertainment photographers and videographers will cover every aspect of the invitation-only event. This includes red carpet arrivals and departures, candid images from inside the party and live performance. With the addition of a remote camera set up on the red carpet, Getty Images will be able to uniquely capture the event and moments throughout from different vantage points. Imagery from inside The Met Gala will be available for license exclusively on 'We are thrilled to build on our longstanding partnership with The Metropolitan Museum of Art and Vogue and be at the forefront of delivering best-in-class imagery and videos of fashion's biggest night out to customers and fans around the globe. As an innovator in entertainment and fashion photography, Getty Images continues to elevate the stories and visuals that our team produces each year in near-real time, as well as push the boundaries of creativity,' said Getty Images' Vice President of Global Entertainment Kirstin Benson. 'The Met Gala brings together the very best talent in art and fashion for a visually arresting evening. With the immediacy of today's news cycle and social media, as well as demand for content, our unique access, photographic expertise and industry relationships are what set our coverage apart. This iconic, exclusive event continues to hold significant cultural relevance around the globe and this year's theme puts Black history, culture and fashion front and center. We're incredibly proud to capture it all and continue to elevate Black storytelling and excellence through premier events and collections on Getty Images, such as the Black History & Culture Collection and HBCU Collection,' added Benson. With Colman Domingo, Lewis Hamilton, A$AP Rocky, Pharrell Williams and Anna Wintour serving as co‑chairs and Lebron James serving as honorary chair, the gala will celebrate the opening of The Costume Institute's spring exhibition Superfine: Tailoring Black Style. The exhibition will feature garments and accessories, paintings, photographs, decorative arts, and more from various artists—presenting a cultural and historical examination of Black style over three hundred years through the concept of dandyism. Superfine explores the importance of style to the formation of Black identities in the Atlantic diaspora, with the exhibition organized into 12 sections, each representing a characteristic that defines the dandy style—such as Champion, Heritage, Beauty, Cosmopolitanism and more. Additionally, the 2025 Met Gala will return to having a host committee made up of famous musicians, singers, athletes, actors, authors, artists, designers, writers, playwrights, directors and producers. This year's committee includes Dapper Dan, Doechii, Janelle Monáe, Spike Lee, Audra McDonald, Usher and 30 years, Getty Images' team of content creators have worked tirelessly to create award‑winning imagery and video that allows customers to set themselves apart from their competition, while including a diverse set of experiences and perspectives throughout the content creation process. In addition to The Met Gala, Getty Images content creators are at every major entertainment event globally, from awards ceremonies to fashion weeks to film festivals, covering almost 70,000 entertainment events a year and partnering with major brands on creative content strategy. Media contact:Jenna in to access your portfolio
Yahoo
02-05-2025
- Politics
- Yahoo
Fact Check: Trump showed 'assassination trading card' to group of kids at White House Easter event
Claim: An authentic photograph from the White House Easter event in April 2025 shows U.S. President Donald Trump displaying — to a group of children — a collectible card with a photograph of the assassination attempt targeting him in July 2024. Rating: In April 2025, a photograph spread online purportedly showing U.S. President Donald Trump showing a group of children what appeared to be a collectible trading card of the July 2024 assassination attempt targeting him. The picture appeared to have been taken April 21, when Trump hosted the White House Easter Egg Roll, an annual tradition where families gather to roll colored eggs down the White House lawn. As the photo spread, The Daily Mirror, a British tabloid, published a story with the headline "Trump blasted for showing assassination trading card to kids at White House event." (Facebook user "David Mudcat Calderon") The above photograph is real. It was not created using artificial intelligence software or manipulated using digital editing tools. As such, we rate this claim true. We found the photograph in Getty Images' database of photojournalism. The image was shot by Chip Somodevilla, with the caption: U.S. President Donald Trump holds a collectors card depicting the assassination attempt during the Easter Egg Roll on the South Lawn of the White House on April 21, 2025 in Washington, DC. The White House is expecting thousands of children and adults to participate in the annual tradition of rolling colored eggs down the White House lawn, a tradition started by President Rutherford B. Hayes in 1878. () () The photograph on the card was taken by Jabin Botsford for The Washington Post, moments after a gunman opened fire at a Trump campaign rally in Butler, Pennsylvania, on July 13, 2024. That photograph can be found on Getty Images here. The card also included text stating the date of the attempted assassination and captions reading, "Trump assassination attempt" and "Fight to save America 'Stand Strong'": () At the Butler rally, one person was killed and two others were wounded when the shooter, Thomas Matthew Crooks, opened fire from a nearby roof as Trump spoke. Secret Service agents fatally shot Crooks and rushed Trump off stage after a bullet struck his ear. The Trump administration does not appear to be selling this specific collectible card through official channels, though cards with the same photograph and captions are available on the e-commerce platform eBay as of this writing. Similar trading cards are available for sale on sites unaffiliated with Trump. The Trump Organization is selling a book of photographs with an image from the assassination attempt on its cover. "In Photos: Signal Scramble at the 2025 White House Egg Roll." Axios, 21 Apr. 2025, Accessed 22 April 2025. Kasprak, Alex. "Rumor That Shards of Glass, Not Bullet, Injured Trump in Assassination Attempt Is False." Snopes, 15 July 2024, Accessed 22 April 2025. "Trump Is Safe After Assassination Attempt; Suspected Gunman Is Dead." The New York Times, 13 July 2024, Accessed 22 April 2025. "U.S. President Donald Trump Holds a Collectors Card Depicting The..." Getty Images, 21 Apr. 2025, Accessed 22 April 2025.
