The National Union of Journalists and British Photographic Council were quick to mobilise support, but it's a decision that has upset many in the professional photojournalist community as another revenue opportunity is cut. Many feel that unless they turn down the work, there's little they can do about it.
At the forefront of the campaign is Pete Jenkins, a news and sport photographer not scared to raise his voice - he isn't prepared to work under GNM's syndication and rights terms in any case, he says.
'Rights grab'
It's well within the Guardian's rights to use an increasing amount of agency material, but that shouldn't necessitate taking revenue away from the freelance photographers it does use, he says. In contrast, GNM has argued that 'it is not a rights grab', in a statement to the British Journal of Photography.
"If you're taking more work and not paying for it, and more rights, that's a rights grab," retorts Jenkins. "It's immoral and, if not illegal, is certainly against the very essence of the 1988 Copyright, the Treaty of Berne and all the other international conventions concerning copyright."
Although some significant names on the UK photography scene have pledged their support, Jenkins says many will be reluctant to raise concerns: "It's people like myself who stick their heads above the parapet and suddenly find there's less and less work.
"My reaction to this nonsense with the Guardian, is that I can't work on those terms. It's a business decision that I have made. I think what I've said is what most photographers feel, but most photographers won't say it. A lot of people are running scared because there is less work in the industry.
The Guardian, he says, should purchase less work, but maintain quality and integrity in the images it does buy. "They [the Guardian] know a lot of photographers are vulnerable. At the end of the day, is it going to save the Guardian? Of course it's not. The amount of money they will save by this is pitiful; they'll not even save five per cent on their photographic budget.
"That's the sad, sad thing about this. They made the decision to do this because they can. It's bullying."
Cuts across the industry
Of course, the Guardian is not the only title cutting photography costs: reportedly, staff contracts for photographers have been decimated at many titles over the past 20 years.
It's difficult to obtain exact figures across the board and much of the evidence is gleaned anecdotally from photographers and journalists, but at at least one national title that boasted 50 staff positions in 1989, you'd now be hard pushed to count five, claims Jenkins.
Numbers of contracted freelances and stringers have similarly been reduced by 80-90 per cent, he adds. Many national newspapers paid £150 per half day 15 years ago, a rate that is exactly the same in 2009, says Jenkins.
But weekly overheads have doubled in that time, he says, listing the mounting bills: computer software, camera and lens replacements, petrol, other car and travel costs, a mobile phone.
More than ever newspapers are now quibbling over expenses claims, he adds.
Out with the old
Jenkins' fear is that young photographers with limited business savvy will agree to unwise deals, and that the people known within the industry as 'dump and runners' will replace quality photographers.
The D&Rs are 'people who are not concerned with quality but are merely producing an image', he says: "A lot of outlets are happy to take an image because it's cheap. Whereas for people like myself, quality is the issue. I spend a huge amount of time processing every single job I do, and as a consequence, what I get out is very, very good. I've moved away from sport, and I've now moved into markets which are more suited to my skills."
Realistic earning models
"Most of us now, if we still supply newspapers, only supply newspapers on a part-time basis and get a lot of our income elsewhere," he says.
Jenkins decided to change his own personal employment model nine years ago; "I made a conscious decision to change the way my business was run at the turn of the century.
"I used to be a sport photographer, now I rarely touch sport. Few now can make a living at it."
Instead, Jenkins has focused on a high-quality niche market; branding his product and skill as 'detail photography' across a variety of sectors: his local area, conferences, family and parenting, for example.
What's your own experience? Do you support the petition? Share your views below or drop us an email.
Free daily newsletter
If you like our news and feature articles, you can sign up to receive our free daily (Mon-Fri) email newsletter (mobile friendly).
