Category: registration

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Time Again

The issue of time, especially in regards to copyright registrations and infringements and how much you might get for an infringement, comes up, well, time and again. It’s been a minute since I mentioned it here; I thought it was time to change that.

(Sorry for all the time references, there…
okay, not sorry.)

Generally speaking, you should register your work as soon as possible after its creation. If possible, registering it before it goes out into the world is your best bet, but I mean before it goes out into the world, because you might actually screw up the registration otherwise.

How? Publication has a really awful legal definition as you can see here. Normal human thoughts of what publication means may not be accurate! One big example is when you provide work to a client, whether they actually use the work or not, that work is published on the date you provided it to the client. So, you can see what I mean above about “before.”

Anyway, a registration that is made before a work’s first publication will make available the enhanced remedies (those are statutory damages and possibly attorney’s fees) for any infringement of that work–all the infringements will be after the effective date of the registration. Enhanced remedies are often the key in getting someone like me to take your case on a contingency fee (that is where we get a percentage of what you get, when you get it). Enhanced remedies will often be the difference between getting something like $500 and getting thousands. So, registration as unpublished, before letting the work out into the world, particularly when there is a group registration option like for photographs, makes that easy and cheap.

Of course, however, we are busy folk and can’t always take the time to file an application for registration right after we’ve created some work. Usually, in fact, you’re going to have to file after the work is first published (remember, published in the legal sense, not the human sense). Don’t fret! The law gives you an option to make it as if you registered the work on the day is way first published: the three-month window.

Pay attention, because people screw this up all the time. The three-month window is a part of copyright law that says that any registration made within three calendar months after the first publication of a work will invoke a bit of legal magic: it is as if you registered the work on the day of its first publication. This makes enhanced remedies available for virtually any infringement because, again, any infringement will happen after that date of first publication.

So, if you register everything you first published from January 1 through March 31 on March 31, you’re golden (same for Apr 1-Jun 30 on June 30; Jul 1 -Sep 30 on Sept 30; and Oct 1-Dec 31 on Dec 31). In the case of photographs, 4 group published photographs registrations will protect all your published work for the year. This calendar, by the way, is the most efficient because you can only register group published photos that were first published in the same calendar year–so you can’t do, for example, November 1, 2026 – January 31, 2027.

Finally, if you don’t register before publication or within the three-month window, all is not lost. Don’t forget that any infringement that starts after a work’s registration, no matter when the work was registered vis-a-vis its first publication date, has enhanced remedies available. Made something and first published it in 2010? Register it today (May 11, 2026) and any infringement that actually starts (not when you find it but when the infringer started using it) May 12, 2026 or later gets the enhanced remedies. Yay!

While most of my readers are photographers, some of you make other creative works. Group registrations are becoming more and more available for non-photo works, like 2D published works; unpublished non-photo works; as well as ones for music, etc. (photographers really had it lucky, early). Take advantage of these newer forms, create your schedule, and start protecting your work via timely registrations!

And if you need help with any of this, or chasing down the infringers, you can always find me here.

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This Isn’t a Humblebrag; It’s a Buttkick

I was reminded by a client recently that what I do actually has changed (at least some of) my clients’ lives for the better. That was very meaningful for me. While of course I need to make a living, I do what I do to try to help creatives be successful (at least financially). When I hear that I have succeeded in helping, that makes me feel great.

For example, I helped fully-fund one client’s retirement accounts; for another, some serious and unexpected home repairs were much less a problem. I’ve had other clients, over the years, tell me I helped pay for vacations or their kids’ college funds. All sorts of things that simply made their lives a bit (or a lot) better.

To be sure, none of these were huge cases. I do not have any million-dollar awards or settlements…. not even close, to be honest. There have been some that have been larger, relatively speaking, but mostly my practice consists of handling what many people would see as “small” cases.

What do I mean by small? I did some math to figure that out. Most single-infringement, pre-litigation settlements in my practice lately (2024-2025) land between $7,500 to $12,0001. In the legal world, those are not big numbers. But for the artists I represent, they are not insignificant. Those numbers mean roughly $4,750 to $7,700 in the client’s pocket2. Per case. Most of my clients find multiple infringements that they ask me to pursue so, it is not at all unusual for a client to net (that is, after paying me), over a year, more than $30K or $40K. Sometimes, much more.

In other words, these cases, although what many people would call small, add up.

The key to these cases, almost always, is that the client has a timely registration. I’ve nagged about that for years, but look at the return! You can register multiple works (photos, 2-D art, blog posts, etc.) with one application and one fee (usually $55-$85, depending on the kind of works). If the work infringed is registered before the infringement at issue started3, then the minimum statutory damages (if the case is litigated) are $750 (up to $30K for non-willful). You also may be awarded attorney’s fees. That statutory (that is, written into the law) reality and the case law supporting the amounts make it possible for me to negotiate settlements like mentioned above, in many cases4.

And yet, I still have difficulty convincing some creators to register their copyrights and go after infringers. Like having that additional revenue isn’t worth the effort. That makes no sense to me. Artists of all stripes work hard to make their work (even when they feel it is easy themselves); why let someone rip it off? It isn’t a compliment to have some business use your work–it is a way to exploit your talent and efforts for its own benefit. As long as we live in a capitalistic society, you will need to make money and your work is valuable. The companies that use your work know that–they chose your work to make money… for themselves. By pursuing infringers you are not begging but rather standing up for yourself, your work, your talent, your own business.

So yeah, it feels great to know that I help people. But it is frustrating to know that I could be doing more for more of you. So please, whether you ever work with me or someone else, get off your butts, register your work, and stand up to the infringers.

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  1. REMEMBER! Previous results are not predictive of future results and each case is its own thing; just because someone got $10,000 for a case, for example, doesn’t mean you or anyone else will for a similar case. ↩︎
  2. The contingency fees (a percentage of the gross settlement or award) I charge are negotiated with each client prior to us working together. ↩︎
  3. Or if the registration is within 3 calendar months of first publication of the work. ↩︎
  4. Certainly not all cases, though. Some infringers will not negotiate, for example, meaning the case must be litigated or dropped by the client. ↩︎
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Timeliness

I recently had a client bring me a lovely case with multiple images infringed. Nice and clean with registered copyrights and everything. An almost perfect case…

…until I looked at the Effective Date of the registration and the source code of the online use. Sadly, the use started mere days before the Effective Date and so the registration was not timely. While the client could still get actual damages (and infringer’s profits if any), that would be a low number based on the client’s provable license fee rate; so it made the case not something I could take on a contingency-fee basis. Bummer!

Registration is wonderful for protecting your work and adding to your recovery for an infringement, but its timeliness is a big, hard line to those benefits. Sadly, lots of people misunderstand timeliness. I hope this post helps clear up some of the misconceptions.

When you register a copyright (or a group), the registration will be issued with an Effective Date[1]. That date is the magic number—the key. For any infringement that actually starts after that date, you can get statutory damages and (maybe) attorney’s fees. These are called “enhanced remedies,” by the way. Statutory damages go from $750 to $30,000 for non-willful infringement, and up to $150,000 for willful. That’s a lot of room to negotiate a decent pre-suit settlement or, if you have to litigate, to get a valuable award. 

But that date is, like I said, a hard line. There is no wiggle room, outside of one exception I’ll explain in a second. So, if your Effective Date is July 1, 2024 and the infringement actually started on July 2, 2024, cool! But if the infringement actually started on June 30, 2024, the registration is not timely and you can’t get those enhanced remedies. 

Why do I keep saying actually, in italics? Because the date at issue is not when you find the infringement but rather the date the infringer began violating your rights—copying, displaying, etc., whether you knew it or not yet. If your Effective Date is July 1, 2024 and you found the infringement on December 1, 2024, that doesn’t make the registration timely; you need to find out when the infringement started to know if your registration is timely.

Now, about that one exception I mentioned earlier, this is something people screw up often so, pay attention. If you register your copyright in a work within three calendar months from the date of that work’s first publication, the law works some magic and you can get enhanced remedies for any infringement that started after that first publication date. Congress did this to try to fix the hole where a work is made and quickly published and quickly ripped off, before you get it registered. It’s a solid fix, IF you register your work in time. 

First publication is a technical, legal thing, for added crazy here. Publication has a nebulous definition in copyright law—it doesn’t always match with what any normal human would think of as publication. If you offer the work for sale or licensing, it is published on the date you do that, even if the work doesn’t get seen by anyone until later! So, for example, if you shoot for a client, the date of first publication will be the date your deliver the work to the client (digitally, hard copies, whatever) even if they don’t run the work until later. If you shoot for yourself, then a month later post the work on your website and offer it for stock licensing, the date you post it will be its first publication. BUT, if you make a work and post it on, say, your blog without explicitly offering it for licensing, then it is (likely) NOT published. 

I know, crazy, right? The easy fix is to always include a line about your work being available for licensing, even on your blog or Instagram or whatever. Then, boom, it’s published and you have a date for that. 

To best protect your work, do a group published[2] photographs registration every year on March 31 (for works first published from Jan 1–Mar 31), June 30 (Apr 1 – June 30), September 30 (Jul 1 – Sept 30), December 31 (Oct 1–Dec 31) of each year. That way, ALL your published photos for the year will be timely registered, no matter what. Any infringement of those photos will be eligible for enhanced remedies. Yay!

Then, when you contact any copyright lawyer (like me) with a potential infringement matter, we will be much more likely to be able to help you on a contingency fee (meaning you pay no fees unless we recover something for you).

[1] This date is usually the date you submit the application online, by the way. Even if you don’t get the certificate until much later, the Effective Date will almost always be the application date.

[2] Group Published Photographs registrations require that the works be first published within the same calendar year—this schedule takes that into consideration. See https://copyright.gov/circs/circ42.pdf.

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The CCB and Me

The Copyright Claims Board (CCB) is about to launch (June 16). Although I have written about my concerns (see previous post), that doesn’t mean I won’t be available to clients who wish to pursue claims through that process. It is a legitimate legal process, definitely an option to all but especially to those who have not timely registered their works, who will now be able to elect limited statutory damages* (unlike in federal court), and I intend to help as many of you though it as I can.

(* To quote from the CCB itself: In a CCB proceeding, the amount of statutory damages cannot exceed $15,000 for each work infringed. Because the overall cap on CCB awards is still $30,000, however, you will not be able to recover more than that amount no matter how many works are involved in the proceeding. The caps for statutory damages will be lower if you do not register the work(s) within the timeframe established in section 412 of the Copyright Act: $7,500 per work and $15,000 per proceeding. These are all upper limits; a successful claimant will not always be awarded these full amounts. And unlike in federal court, the infringer’s knowledge or intent is not considered in determining the amount.)

Although you don’t need to have a lawyer to use the CCB system, I would advise using one anyway. Like all things legal, there are details to look out for and it will save you time and angst if you hire someone to help. Particularly early on, I think having counsel would be the smart thing to do since there are bound to be bugs in the system and having someone who understands the related law and rules in detail will help navigate any surprise issues.

I will be taking select cases starting day 1 of the system. I say “select cases” not only for my usual review of “Is this a viable case and can I help on a contingency fee basis?” but also because I am limited to 40 CCB cases per year–total. This is a hard-line and all attorneys are limited to that number, per attorney. Firms of 2 or more lawyers are limited to a total of 80 cases per year.

I’ll be posting more about how the system works, or doesn’t, as I learn about the process from my own experience as well as from others who file claims in the CCB. As the old radio shows used to tease: stay tuned!

Regardless, I still highly highly highly encourage all creatives to register works with the USCO as soon as possible after creation. Today is better than never, even for older works! Remember that timely registered works open more doors to you, including higher statutory damages than you can get from the CCB.

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Time

In copyright law, time matters in several ways. Each is important.

First, there is the timing of the registration which fits into three categories. Generally speaking, you should register your work as soon as possible after its creation. More specifically, though, a registration that is made before a work’s first publication* will make enhanced remedies (i.e., statutory damages and possible attorney’s fees) available for virtually any infringement of that work. A registration within three calendar months after the first publication* of a work will invoke a bit of legal magic: the law says it is as if you registered the work on the day of its first publication*, again making enhanced remedies available for virtually any infringement. Finally, any infringement that starts after a work’s registration, no matter when the work was registered vis-a-vis its publication* date, has enhanced remedies available.

(*Publication here is that awful, nebulous definition provided by the Copyright Act–it does not necessarily mean what a normal person would think publication means. )

Time also matters as regards the statute of limitations–that is, the amount of time you have to file a suit for infringement. The statute of limitations is a strict clock–so pay attention to it.

In most places in the USA, courts have held that the discovery rule applies, meaning the clock starts when you discover (or reasonably should have discovered) an infringement. From that date, you have 3 years to file suit. 3 years is a lot of time to find, document, and try to work out a non-litigation resolution to an infringement. But it isn’t all the time in the world and you should make a big note in your calendar about 6 months before the 3 years would end, so that you can talk to a lawyer about filing in plenty of time.

In a few places, courts have said that the injury rule applies (mostly the 2nd and the 11th circuits, but even in those circuits there have been some exceptions). The injury rule means that the clock starts when the infringement actually starts, not when you discover it. I happen to think that the Raging Bull case (Petrella v. Metro-Goldwyn-Mayer, Inc., 572 U.S. 663, 677-78 (2014)) essentially said that the discovery rule should apply everywhere (sure, in dicta, but still), but you don’t want to rely on that in court. At least not yet.

By the way, if you don’t know what circuit you’re in, you can check out the Court Finder tool on the US Courts website; or, better yet, ask your attorney.

While there are a few situations where the law permits “tolling the statute” (that means suspending it for a period of time, thus giving you more time), those exceptions are complex and rare. You shouldn’t rely on your attorney finding some obscure out to give you more time. Instead, once you find an infringement, act quickly to start the process of resolving the matter–preferably through settlement negotiations if possible.

But all of the negotiations in the world will only get you a little money (usually) if you don’t have a timely registered copyrights in the works at issue in the first place.

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USCO Fees Increasing

Starting March 20, 2022, the fees for registrations and other services from the US Copyright Office are going up. You can get the whole story in the Federal Register, here, but it’s a long slog of a read. Here’s the skinny:

There are more changes, but the screenshots above show the ones you are most likely to face.

The good news for photographers is that the fees for group registrations have not changed. The bad news for stock photo agencies is that the database registration for photos has jumped quite a bit ($250!).

Still, no matter how you slice it, registration is still the cheapest “insurance” you can buy.

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Details Matter, But…

Legal things are notoriously detail-oriented. Whether you are getting a driver’s license or filing suit, the details are important. Sometimes, the teeniest details can make or break a case. You’ll always hear we attorneys harping on the details, and for good reason.

One of those reasons in my world is that, sometimes, getting the details wrong on a copyright registration can break (void) the registration. I’ve preached for years that you need to be careful with your registrations because certain errors can be so dangerous.

Luckily, near the end of February this year, the US Supreme Court issued its ruling in the Unicolors v H&M copyright case which may save some registrations. In that ruling, the court said, roughly, that an error of fact or of law, as long as it was unknowing, won’t break a registration. That is, the safe harbor under 17 USC §411(b)(1)(A) applies to both mistakes of fact and of law.

Now, here’s the important bit: unknowing. For a mistake to be truly a mistake, you can’t be willfully blind, for example. It won’t do for you to just say “I don’t know what to do so I’ll do whatever and it’ll be okay.” Nope. So, for example, if you have read my blog post about some of the details you need to pay attention to, like not mixing published and unpublished work in a group photo registration, and you don’t bother to check on the publication status of all the photos in a group registration, I would expect that registration could still be voided (at least in part).

So while this ruling is important, it really shouldn’t change how you approach your registrations. You still need to do your best to be accurate. But if you legitimately accidentally aren’t accurate and you sue with a flawed registration, you have a lower chance of being kicked out of court for a voided registration now.

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Ah, the Case Act

Assuming that Trump actually signs the huge bill that includes the CASE Act, something that has not yet happened as I post this (and, knowing how crazy he is, it’s not a for-sure thing he will), the much-touted bill will become law. **UPDATE 12.28.20: he signed**
What does it change in copyright law and what does it mean for the average creator? Here’s my take…

First, the CASE Act changes nothing in existing law except that, before, you absolutely had to have a timely registration to get any statutory damages but you can get some without it under CASE; also, you can file a claim without having your certificate as long as you have filed an application for registration. For statutory damages, if you choose to use the small claims system without a timely registration, you can get very limited ones—up to $7500 per infringement but with a maximum per case of $15,000. That maximum limit means, for example, if one infringer used 3 of your photos, you can’t get more than $15K total, even though 3 x $7500 is more than that. As for the application/registration issue, you can file a small claim as long as you have applied for a registration and that application has not been refused. Under existing law, you must have a certificate in hand (or a refusal) to file suit. Under the CASE Act, if the registration application is later refused, the claim is dismissed but can be re-filed later (for example, if the registration is later fixed and then approved, file again). 

Besides those changes, the existing copyright law is left pretty much as it was, only added to with the small claims system regulations. For example, you can still get actual damages and the infringer’s profits attributable to the infringement in the small claims system, you still own the copyright from the moment of creation, the exclusive rights are still the same, the statute of limitations doesn’t change, etc.

What do you give up if you use the small claims system? Besides procedural things like the number of witnesses, discovery limits, etc., which are all lawyer stuff, really, here are the things people need to know they are giving up if they choose to use the new system:

  • The constitutional right to a jury trial
  • Increased damages for willful infringements
  • Appeal in the regular courts (there are appeal-ish procedures, in the small claims system, but no appeals or re-litigation in regular court)
  • Attorney’s fees, except for bad faith situations (notoriously hard to prove up) and then generally limited to $5000.

Also, you can’t bring claims for CMI removal or false assertion (§1202 claims), in the small claims system. That is a big deal, in my opinion, since you’d be giving up a minimum of $2500 (and up to $25K) per violation, and attorney’s fees, if you chose to use the small claims system. While this may change down the road (the bill requires study of issues in three years, including probably the §1202 one), for now, you have to let go of those claims. That is walking away from money.

Here’s the other thing: any party can opt-out, so you could be throwing away at least $100 (filing fee) and likely more (service costs, etc.) often, as your infringers say, “Nope, I won’t do the small claims court—sue me in regular court if you want to bring a claim!” and there is nothing you can do about it. 

But let’s say the opposing party doesn’t opt-out, and it’s a big enough company that it has in-house counsel or is willing to pay an outside attorney to represent it. If you were planning on going without an attorney, you’re going to get your ass kicked, more often than not. No matter how much the powers-that-be try to simplify the system, copyright lawyers simply know more than you and know how to use that knowledge to make the right kinds of arguments to other legal pros (those making the determinations in the small claims system). That means you’ll have to find counsel. If you can only get a maximum of $7500 and probably no attorney’s fees, it’s going to be much harder to find an attorney to take your matter on contingency or your going to have to pay an hourly rate that’ll eat up your award quickly.

I wrote a lot about how I didn’t like the CASE Act, as a litigator and counsel to copyright plaintiffs, in a post more than 3 years ago. My reasons still hold in regards to its final form, today. But if this is the new reality, I will, of course, work within it. As will we all. 

So, here’s what I still recommend for all creatives: apply for copyright registrations as soon as possible after the creation of your works. Just like before, this is still the best thing to do. Post-CASE, it is even more so. If you have a timely registration (effective date is either before the infringement started or the registration is made within 3 calendar months of the first publication of the work infringed—see here for more), and you choose to use the small claims system, the maximums increase to $15,000 per infringement and $30,000 total per claim. That’s double the amount available if the registration is untimely. 

Most importantly, a timely registration gives you much greater leverage to negotiate a settlement without filing a claim at all because your opponent knows you can file in regular federal court where the maximums are as they have been ($30K non-willful, $150K willful, per infringement and no maximum overall total, possible attorney’s fees). Also, you don’t have to give up your CMI-related claims (which, by the way, are not dependent on timely registration, see more here). When it comes to settlement negotiations, those timely registered factors and the CMI-related ones give a creative a much stronger starting position, which will generally result in more settlements, less litigation, and lower attorney’s fees (contingency fees often go up when any sort of litigation starts). More money in your pockets.

Now I know lots of creatives see the CASE Act as a good thing, and I get where they are coming from. It sounds great and it does open a door to getting some money that didn’t exist before. But I still think the downsides are significant. I also know that when I talk to other copyright lawyers who actually litigate, their positions have been much like my own.

As in all things legal, talk with your own attorney to learn what may be the best for you.

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Copyright Registration Suggestion

I’ve written a lot on the importance of registering your copyrights and, no, this won’t be another nag on that topic. Instead, I want to talk about something you aren’t required to do when you register, but which would be potentially very helpful down the line: make copies of your deposit copy uploads.

Often, an infringement defendant will demand proof that the work was submitted to the USCO as a deposit copy in the registration cited. Now, it’s not the plaintiff’s responsibility to provide that proof[1], particularly if the registration is before or within 5 years of the first publication of the work, but it does help shut up a defendant if you can whip out screenshots of your upload pages along with the works so that they can see, yup, that work was indeed included in the deposit copies submitted to the USCO.

Keeping a folder of everything you submit to the USCO for a registration is a great idea, and if you aren’t doing that yet, start. I suggest you keep copies of the titles list (for group registrations), the actual files submitted, any correspondence you get from the USCO (or send in reply), etc. When you get your certificate, make a scan of it and include the whole thing in that folder, too. Making screenshots of things like the upload page(s) and confirmation(s) takes little time but completes that folder[2]. Then, when the infringer tried its “prove the work is in there” you can not only show the list of title names on the certificate, you can show the work as it was submitted. That’ll shut ’em up… at least on that point.

Basically, the idea is to take away as many of the BS defenses defendants try to assert whenever they’re caught ripping off work. For example, use a proper copyright notice on or adjacent to each work you publish on your website and then no one can claim “innocent infringement” (more on that, here). This “is it in the registration” issue can be a big block with some defendants; removing their ability to claim the work isn’t part of a cited registration can significantly help move negotiations forward.

The more evidence you have to support your claims, the more likely your attorney will be able to negotiate a good settlement for you, so it’s worth the minor effort to make those copies, even if it isn’t your legal responsibility to do so.

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[1] This point was again made in the recent Iantosca v Elie Tahari, Ltd. No. 19-CV-04527 (MKV), 2020 WL 5603538 (S.D.N.Y. Sep. 18, 2020) where the court noted “It is the Defendant’s obligation, during discovery, to contact the USCO and request deposit copies to be used to rebut the validity of the copyright registration.”

[2] Remember, when you make the screenshots, the metadata about their creation date, etc., will be in those screenshot files, too. More handy proof in case they try to claim you created the screenshot, nefariously, later (and yes, they might).

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Bad Registration Advice

Recently, I was approached by a photographer about an infringement matter. It was a good-looking case, until I checked the registration. The work had been registered as unpublished, but it was admittedly published before being registered; in other words, it was knowingly registered wrongly. That makes a big “No, can’t take this on contingency” from me.

When I explained this to the photographer, the response was surprise if not full-on skepticism. Seems the photographer had been told, allegedly from several sources including at least one major national photographers’ organization, that one could register a work as unpublished if registered within 90 days of publication. 

Yikes. The amount of wrong there is worrisome.

Let me make this perfectly clear: one must never knowingly register a published work as unpublished. Ever. There is no way around it, short of lying, and lying is a very, very bad idea. Full stop. 

Registering under the wrong publication status is bad; but registering work you know was published as unpublished is a fast route to having the registration voided for that work. Now, if you are litigating and you get busted for the “error,” you will quite possibly (I’d say probably) end up paying the other side’s attorneys’ fees when you lose your case. Ouch.

Look, we pretty much all hate the published/unpublished thing—lawyers, artists, everyone. It’s an administrative hoop that is, in my opinion, arguably outdated and unnecessary. But, it is very much still the law. 

When a work is published, one must provide the US Copyright Office with additional information about that work in its registration application (date and place of first publication). That data is included in the certificate and USCO records. Registering the work as unpublished omits this information. That’s why it’s particularly bad.

So, where did this photographer’s misinformation come from? Hard to tell, but I suspect it was started by someone trying to get around certain limitations in order to register more works for less money. See, before the recent-ish changes in registration procedures, one could register a virtually unlimited number of unpublished photos in one “unpublished collection” registration. The limit was one of upload size, not number of works. However, published photos were limited to 750 per group registration (as well as other limiting factors, like the photos must be published in the same calendar year). In other words, it would cost more to register 1500 published photos than unpublished ones. 

This irked photographers. I know, I’ve been asked at talks I’ve given about copyright registration, back when those rules applied, “Can’t I just say the work is unpublished so I can do everything in one registration and save money? Who’s gonna know?” Of course, I pointed out the errors of that line of thinking, but I’m sure some may have errantly given it a try. Thing is, the USCO relies on you being honest so if you do misrepresent the work as unpublished, you will still get your certificate. But that doesn’t mean it will hold up in court. Anyhoo, once someone did it and got his* certificate, the info likely got shared and, boom, bad info gets out to the photo world.

Now, the rules are more equal. There is no more “unpublished collection” for photographs but rather Group Registration of Unpublished Photographs (GRUPH). That registration, like for published photos, is limited to 750. Like it or not. So, the incentive to misrepresent a work’s status is much less now. 

The 90 days thing, though, in the photographer’s response above? Well, that is extra rules-bolluxing. Contrary to popular thought, there is no 90-day anything in copyright registration for photographs. There is, however, the 3-calendar-month safe harbor for registering published photographs. It is NOT 90 days, but many people have wrongly said/written it as such. Remember, three months does not equal 90 days (hello, February) and you can get bitten if you get that wrong. Anyway, I think that safe harbor got mixed into the mess and we end up with this strange idea that there is a way around the publication status-related registration rules. 

You can fix bad registrations, but it is a process and it will cost you both USCO and your own attorney’s fees. Oh, and when the error is like what I’ve been talking about here, you’re almost surely going to get a new effective date, too (that can affect statutory damages for some cases). 

This stuff can be complicated. Remember, while your creative friends may think they know the rules, if you have any questions regarding your registrations, your best bet is to hire a copyright attorney for legal advice.

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