Thoughts on Copyright Protection

Thoughts on Copyright Protection

[Updated February 7, 2024: 1. Added how to properly form a copyright notice. 2. Added information on protecting visual works from AI.]

Note: Copyright is a widely-embraced Western idea and legal construct. However, when it comes to a few countries, all bets are off. Also note: I am not a lawyer, but I do offer (a bit of contrarian) food for thought, and quality, helpful links below. Further, this article was given the thumbs up by two lawyers specializing in Copyright Law.

I’m Guilty of Copyright Infringement

I just realized I’ve done to others what I don’t want done to me: unwittingly stealing copyrighted work and re-posting it.

How? A few times I’ve included snippets—or whole copies—of poems by living poets, as accompaniments to my photographs. Copyright protection lasts for the creator’s lifetime + 70 years. (Unless they’ve given part or all of their rights away.)

Oops. I won’t be doing that again.

Working (Free) for Exposure

This week I found this terrific poem by Yolanda Wisher, and wanted to include it, whole, with this dandelion (er, salsify) photograph I created on Monday. For the first time, however, it occurred to me to look up the poet, and write Ms. Wisher to ask permission.

She declined.

I respect her decision. After all, what would she get in return? The rightfully maligned “working (free) for exposure.”

While I would never have framed my request that way, I realize that’s essentially what I suggested. The notion of working for free, in exchange for exposure, is another way of asking someone to trade their education, experience, expertise and effort for … nothing.

Most young creatives in Western countries experience this idea. It’s usually when older, wiser capitalists—or the creatives’ unwitting friends—use this nefarious approach to try to avoid paying for labor.

“Hey college-age designer, why not design my start-up’s business logo? We won’t pay you, but we’ll give you credit, and it’ll be great exposure!”

— Cheapskate

The answer should nearly always be no.

Hint: Ask the requestor to explain more about the benefits they’re offering you. Unless they can immediately and clearly spell them out, demonstrate their true value, and that they’re reliably forthcoming, say no.

After all, when’s the last time your plumber repaired your leaky faucet for free, to get “exposure?”

Don’t work for free. People die of exposure.

— Anon.

BTW, after the poet’s self-respecting response, I briefly considered offering to pay her to let me use her poem. Then I decided to spend my money more carefully. (Besides, I’ve been known to write my own poem for a photograph, and will undoubtedly do so again.)

Types of Copyright Protection

From the perspective of a creative, let’s consider what it means to protect your intellectual property, versus giving some or all of your rights away.

Creative Commons

To quote Wikipedia: “Creative Commons (CC) is an American non-profit organization and international network devoted to educational access and expanding the range of creative works available for others to build upon legally and to share.

Photograph of a Creative Commons license mark, a type of copyright license.
Photo by Umberto on Unsplash

In other words, CC licenses make it easier to give your intellectual property (IP) rights to someone else, just like Umberto did for the photo above.

Now, some folks treat their creativity like a hobby, freely sharing it, and there’s absolutely nothing wrong with that. But the moment you want to expand your hobby into a possible revenue stream, consider taking copyright seriously too. Choose your copyright and licensing approaches wisely.

To me, the use of Creative Commons licenses is, at least somewhat, propelled by the idea of “working for exposure.” You make something, and give some (or all) of your rights away. You hope that doing so will bring you exposure … and perhaps money, eventually. While that may happen, it’s a crap shoot, so shoot carefully.

I have declined to use Creative Commons licenses to permit the re-use of my work. For my own protection, I opt to retain full copyright ownership. Part of the reason is the complexity and ambiguity of Creative Commons (CC) licenses, which I’ve thoroughly explored. While they are widely embraced, the reality is that Creative Commons licenses have some issues.

CC licenses are generally misunderstood

For example:

  • Have you grasped the panoply of available CC licenses and their meanings?
  • Do you know how CC-BY-NC is different from CC-BY-SA?
  • What about CC-BY-NC 2.0 vs. CC-BY-NC 4.0? (Yes, license definitions and coverage are updated. Knowing which version a license falls under adds complexity.)
  • Do you know how derivative licenses are used? Are you ok with not knowing if derivative creators (using your works) will continue to license them properly?
  • Are you solid on, or down with, the huge number of FAQs needed to understand Creative Commons licensing?
  • (Is your head spinning yet?)

CC is relatively untested legally

When a CC license states that a photograph may be reused non-commercially, what does that even mean? It seems obvious that the photo shouldn’t be printed on a T-shirt and sold. But what about the photo being used to illustrate a post on someone else’s blog? What if they’re showcasing their talent, hoping to be noticed, and thus gain clients? Is that commercial use? If there’s advertising on the blog … or infotainment site, or social media, or newspaper site, that means there are earnings. Earnings = commercial. Should a CC-BY-NC licensed image be used freely in those cases? Often, they are.

Thus far, this ambiguity is not cleared up in CC documentation, nor by legal precedence.

CC is sometimes problematic

Let’s say you’ve granted permission for folks to use your photograph, art, song or poem, as long as they give you credit by name (CC-BY). What if you discover a political candidate, whose beliefs are your polar opposite, is using your work to promote their message? Too late, they can.

Once you opt for any of the CC licenses, they’re irrevocable for as long as they’re enforceable.

I understand the good-will intention behind Creative Commons. However, in the 20 years of its existence, it has become an unwieldy behemoth that’s muddied the waters of intellectual copyright protection. I’m not diving into that kiddie pool. I feel safer, and less troubled, by choosing to go with good old traditional copyright protection, and by taking other steps to protect my work.

But I’m particular. I don’t want that awful politician to use my creations, without asking permission first. Boosting a post of mine, as is done on Mastodon, is one thing. Taking my works and repurposing them willy-nilly, is something else entirely.

YMMV. You do you.

Traditional Copyright Ownership

Long-standing, “All Rights Reserved” copyright law aims to fully protect intellectual property, as clearly defined and tested by decades-to-centuries of international law, among the many countries which embrace and adhere to the law.

In brief, original creative work is automatically copyrighted the first time it’s published (physically or online). Officially registering copyright can increase protection (a good idea), but isn’t required. More on that below. Original work, as well as appropriately derivative work, is protected for the creator’s lifetime + 70 years. (There are, of course, some exceptions and limitations.)

When a creative sells an original work, say a painting, they still retain full copyright, and can make copies and sell them. The buyer can’t. That is, unless the creative and the buyer have signed a carefully worded contract or agreement, specifically transferring some or all intellectual property ownership to the buyer (or another party, such as an employer).

Note: Be careful about implied licenses where a creative: “(1) creates a work at another person’s request; (2) delivers the work to the other person; and, (3) intends the other person to copy and distribute the work. If the answer to all of these questions is ‘yes,’ a license will likely be implied.”

Copyright Protection, Infringement, and Enforcement

Photo of an old typewriter, displaying the words, "Copyright Claim."
Photo by Markus Winkler on Unsplash


The only foolproof way to protect your creative work is to never put it on the Internet, never share it anywhere, and to keep it hidden away during your lifetime, like Vivian Meier did with her photography. Most people don’t want to do that.

If you want to know your options in protecting your photographs / artwork, this Pixsy article, “The Ultimate Image Protection Guide: 13 Tips To Prevent Image Theft” is pretty comprehensive. TL;DR: if you want to both display and better protect your work from infringement, the best methods are to register copyrights for your work, display your copyrights, make statements about owning and enforcing your copyrights, and make it harder to copy your work. Read the linked article!

Further, copyright lawyer Alan Harrison points out that Section 411 of the U.S. Copyright Law “provides that you need a registration (or at least a “preregistration”) in order to institute a suit for most types of copyright infringement.” So register your work, published and unpublished alike.

Visual artists in the U.S. can learn about registering both published and unpublished works here. If you’re a performing artist, writer, programmer, etc., you can also register your work.

So how do you form a copyright notice? In short, you need to include the © symbol (Option+G on the Mac, Ctrl+Alt+C on Windows), the year the creative work was first published, and your name. For example: ©2023 Marlene Breitenstein. See more details about properly forming your copyright notice, courtesy of the Copyright Alliance.

I list additional resources on copyright and intellectual property below.


With artificial intelligence (AI) in the news the last few months, there’s been a loud discussion over the scraping and use of creative work for AI training. (I talk about how to shield your work from AI below.)

However, that’s just the latest issue. The theft and misappropriation of work by all kinds of living artists is a long-standing problem, especially when it comes to social media sharing, and commercial use in products for sale. A quick search of “stole my art, sold it” turns up countless reports.

Unfortunately, the onus is usually on the artist to take pains to protect their work, and to pursue infringements of their intellectual property rights. Doing so costs time that could better be spent creating or simply living life, and can also cost money. Good news: the financial side of enforcement is better than it used to be, more about that below.

The internet is rife with popular entertainment web sites. They make advertising money off repurposed content (looking at you, social media), while usually giving none to the creators.

For example, by pure chance I discovered that the web site BoredPanda used two of my photographs without permission, in an article about Burning Man. (When a friend sent me the article, they didn’t even realize my photography was part of it!) This week, I used my valuable time to send a removal request by email … which hasn’t yet been answered. The web site’s owners, based in Lithuania, earn revenue off advertising. Are any of the original content creators, whose work they repurpose, getting a cut? I certainly haven’t received compensation. Anyway, I’m waiting for a response. If none is forthcoming, I’ll be submitting a DMCA Takedown Notice. [Update: BoredPanda removed my images, but didn’t communicate with me at all about it. I only know because I checked. Not impressed.]


How does one actually get help with enforcing their intellectual property rights? This may depend on where you are, and where the infringement occurred. (If you didn’t read it, see the paragraph above for an example.)

If you’re a photographer, or other creative, and have identified an infringement, check out the Professional Photographers of America’s Online Copyright Infringement Assistance. They also answer many copyright questions in their FAQ, and offer other enforcement help.

When simpler methods don’t resolve an infringement issue, you may have to resort to taking legal action. Luckily, in the U.S., a new law—the CASE Act—passed in 2020, has finally created a low-cost way for artists and musicians to legally pursue copyright infringement claims. For small claims under $30K value, check out the U.S. Copyright Claims Board to learn about the process.

In some regions, there are Volunteer Lawyers for the Arts, who help creators pro bono.

Elsewhere, a web search will put you in touch with your country’s laws, and lawyers who work with copyright infringement, in your part of the world.

Shielding Your Visual Creations from Artificial Intelligence (AI)

Much to the detriment of the planet and the chagrin of all kinds of creators, AI is here to stay. That means nearly everything you put on the Internet is potentially exploitable for AI training.

For example, in 2023 Meta—the parent company of Facebook, Instagram, WhatsApp and Threads—announced that they’ve scraped public Facebook and Instagram posts to train their AI. According to their privacy policy, content posted on their services may be used to “improve” their products.

Elsewhere, Adobe’s privacy policy (as of February 2024) states in the section titled “Disclosing to Data Processors” that they “will also disclose your personal information to […] providers of artificial intelligence technologies that record and analyze your content or communications […].” While Adobe claims they’ve never used user content “in the cloud” to train “generative AI,” whether their data processors do is unclear. Nevertheless, through your Adobe account’s Data and privacy settings, you can opt-out of this processing under “Content Analysis,” where it says, “Adobe may analyze your content using techniques such as machine learning (e.g., for pattern recognition) to develop and improve our products and services.” Machine learning is a subset of AI.

Also, take special note the “in the cloud” specific above. If you’re a creative posting to Adobe’s Behance service, or their Adobe Stock images services, your work may indeed be used to train AI.

So how would you know, anyway? One way is to check Have I Been Trained?. While you’re there, you can also create an account to opt-out of AI training data sets, for any companies that decide to listen. << Sarcasm.

There are possibly thousands of companies engaging in AI and machine learning activities with your content. If this gives you pause, you’re not alone. Your options are to manage your data, by doing one or more of these:

  • close one or several accounts (as I did on Facebook, despite living an ocean away from most of my family and friends)
  • delete all of your creative content (as I did on Instagram, while I decide the fate of that account)
  • opt-out of the processing of your data and creations wherever possible (as I did with Adobe)
  • convert your accounts to private-only (so only followers will see your content; fine if you don’t seek a wider audience)
  • mask your work with Glaze (to hide your creative style from AI)
  • and perhaps even Nightshade your creations (to poison AI models that scrape your work)

Glaze and Nightshade

Visual artists currently have at least two tools at their disposal to thwart their images from being co-opted by AI scraping.

The first is Glaze, a free tool developed by folks at the University of Chicago. Glaze adds subtle changes to your images, intended to mask your style when AI digests your work.

Second is another free tool they’ve developed called Nightshade, which poisons AI by nearly invisibly altering an image to “distort feature representations” in AI models. In other words, you process an image of a cow, and Nightshade subtly changes it so that AI thinks cows look like a leather purse lying in the grass. Fed enough of these cow+purse images, and AI gets poisoned and confused as to what a cow actually looks like. Given that it only takes about 100 images of an artist’s style to train AI how to mimic, it’s encouraging that perhaps a relatively small number of Nightshaded images of a particular subject could effectively poison AI models.

I believe my intellectual property is worthy of protection. Therefore, I am testing these tools presently to see if I’m okay with the changes made to my images. Because processing can take a long time, I’m running these tools after I’ve finished using my computer for the day.

The team at the University of Chicago plan to combine Glaze and Nightshade into one tool, but as of this update (February 2024), they remain separate. The tools will also undergo regular development to keep up with AI advancements.

Free Copyright Resources

For further details on copyright and intellectual property, check out these offerings:

Another option: get the scoop on copyright in person, from a knowledgeable human (lawyer), and you may benefit from being able to ask questions. Look into your state’s or country’s legal organizations for artists. For example, when I lived in Washington, D.C., I discovered the Washington Area Lawyers for the Arts. They offer free, periodic talks on copyright protection for creatives. Many U.S. states have related organizations, listed on this Wikipedia article about Volunteer Lawyers for the Arts. Here in Germany, I discovered a similar group of lawyers as well (though I can’t locate it presently, bother!). Look around and see what you find.


While it’s outside the scope of this post, if you’re a creative in the U.S., you might also want to look into trademarks and patents for musicians and artists, regarding branding and protecting your business, including your artist name. WIPO also discusses international trademarks. (Confused? Here are the differences between trademark, patent, and copyright.)

I hope this you’ve found this post helpful!

Thanks for your time and attention, both are valuable. 🙏🏻
I invite you to view my photographs and paintings, and to learn more about me.

If you liked this post, you have options:

©Marlene Breitenstein. I welcome your inquiries about purchasing, licensing, or republishing my work. I take my intellectual property seriously. This post and its contents, unless otherwise noted, is owned by Marlene Breitenstein. It is not to be reproduced, copied, or published in derivative, without permission from the artist.

Newsletter #1

Newsletter #1


Welcome to my first artist’s newsletter, I’m delighted you’re reading this.


  • Photo, meet poetry. I started a new artist’s blog too! Despite being the beginning, I called the inaugural post Endings: first a photograph, then a poem. If the coupling of images and words also floats your boat, check it out.
  • Wallpaper for your desktop or tablet. Download higher resolution versions of the following photos (click any you want, fits screens up to 2560 wide):
    [This is a benefit for people who’ve signed up for my artist updates. I invite you to sign up, too! Learn more here.]
Photo of green rolling hills in Germany's Black Forest, the upper portions covered in spruce trees. in the valley is a road, two houses and a barn, and trees with autumn foliage.
Photo of two tall pine trees in a soft peach-colored mist, with greenish-gray foliage in the foreground, and a low bank of barely visible trees in back.
Photo of the interior of a forest at late dusk, with a soft blue mist coloring everything, except the end of a branch of autumn leaves in the lower right corner.


An experiment. Over the last few months, I’ve considered mixing photography with painting. This week, I ordered samples of photographic prints on various papers and substrates, as well as a proof of a larger print. When these arrive (should be in about 10 days), I will test them with a few media—starting with soft pastel and fixative—and see how they work together. I’m excited about this new direction! Watch for future developments.


Tips: If you too are an artist or photographer, two of my blog posts in the last month might be of interest:

  • Strategic Photo Posting on Social Media – Whether you’re a professional or hobbyist, you can benefit from strategic photo posting. Having clarity on what you want to be known for directs your choices, significantly improving the impression you make. read more
  • Benefit from Standing Back – Artists learn to take a few steps back from their work, to assess progress.  Photographers benefit from this same technique, when selecting possible works to share, and when processing photos. Learn why and how you can use this technique. read more


Rejection as motivator. Last week I applied to participate in an open studio event, happening this fall. This week I received a rejection notice. The worst part is, I wouldn’t have approved my application either. I’ve let photography take precedence over painting this last year.

My takeaway? The work towards painting accomplishment needs to get back on track, so I moved some art supplies from my smaller upstairs studio into my second, much bigger studio space. Today I began putting pastel to paper, in a larger format than I’m used to, and will be experimenting with different techniques to expand my multimedia repertoire.


Appreciation. Contrary to every experience I’ve had on other social media, I adore Mastodon. In less than 6 months I’ve garnered 600+ followers, made lovely online acquaintances, seen terrific work, and learned new things. The littler pond allows one to be a bigger fish, which is good for the artist ego. Appreciation stokes creativity.

I appreciate you, too! Thanks for reading. If you’ve poked around my web site and have questions about any of my creations, want to know more about Mastodon or Glass, or have constructive feedback about my work or this newsletter, feel free to reply to this email [contact me]. It’s great that you let me keep in touch with you!

Marlene Breitenstein

P.S. See what I’m sharing on, and my web site,

© Marlene Breitenstein. I welcome your inquiries about purchasing, licensing, or republishing my work.

Strategic Photo Posting on Social Media

Strategic Photo Posting on Social Media

When approaching social media, it’s tempting to share all the best pictures you took during a photo outing. However, having a strategic approach to posting your photos can improve the impression you make.

I’ve been pondering this question for photographers:

“How do y’all pick which photos to upload? I have too many right now to choose from.”

It was a recent prompt by Daniel Agee, the Head of Community and Marketing on, an app designed by and geared especially towards photographers. (See my account here.)

Most folks take a scattershot approach to photo posting on social media, and that’s perfectly fine. If you’re simply sharing with friends, most anything goes.

However, when a photographer gets more serious about their craft—regardless of whether they’re a hobbyist or want to be a professional—it is worth reflecting on not just what to share, but why and when. Strategic photo posting helps you get where you’re going.

Do you know where you want to go?

Photograph of red arrows standing atop poles, against a peach-colored background. The arrows point in different directions.

Goals Direct Your Strategy

Most of us like to connect and be seen, which is a driver for being on social media in the first place. It’s nice being appreciated.

When one’s hobby gets serious, and especially when we strive to make money doing something we love, being goal-oriented can drive our efforts and actions, helping us become more accomplished, sooner.

So, what do you want to be known for, as a photographer? For some, that’s easy to answer. A wedding photographer wants to be known for photographing weddings.

If you’re not sure, you can steal a page from the journalism approach, and consider who, what, when, where, why, and how. Pick any that apply:

  • Who you are and how that ties in with your photography. A mom+photographer or a museum archive photographer would each be invested in their roles, and how they relate to their respective photographic subjects.
  • What your photography presents. This may include your subject (portraits), message (activism), technique (double exposures), artistic voice, and so on.
  • When, where and how you photograph. Your approach could be:
    • Broad, taking pictures of anything, anywhere, that catches your eye, using whatever you have on hand, including your phone camera.
    • Narrowed to a couple or few subject areas, like landscape and macrophotography, using the same 100-400 mm lens.
    • Singular. You might only be interested in weddings, or sporting events. Or perhaps you’re hooked on technique, using special equipment to create or processes images.
  • Why you want your photography to be known. You might simply want to share better photos to your friends on social. On the other hand, you may want to be hired as a product photographer, or sell your work for stock photography, or to art collectors.

Having clarity on what you want to be known for, helps direct strategic photo posting on social media. (A profile for personal posts, and another for posting serious work, might be in order. Use your strategy on one account, and give it some time before adding a second.)

The (aspiring) professional photographer or artist

Show what you want to sell.

Looking to be hired as a pro photographer? Only post photos representative of what you’d like to be paid to take.

Are you an artist photographer? If you want to be represented, or to build a certain level of regard among peers, curators and patrons, display only your best work on your artist profile.

You get the idea.

Less, but best, is more

In selecting which photos to post, less—but best—is definitely more. Quality, not quantity, is what matters. (Quantity is great if you’ve got it, but only if the quality is top-notch too.)

Further, it’s a good idea to consider posting in a way that flows, from one photo to the next, so your feed feels cohesive, rather than scattered. For example, here’s some inspiration worth exploring:

  • Photographer Adam Rubinstein posts widely varying photographs on Glass, but often does so in sequences.
  • Conversely, Trond Froestad is building a photo project, and his Glass feed reflects a singular focus accordingly.
  • And then there’s Chris Dickinson, who works almost exclusively within one genre.

All of these photographers use strategic photo posting.

The (serious) hobbyist

If your goal isn’t professional, there are still ways to make your social media posts shine:

  • When you get home from a photo shoot, download your photos and cull them ruthlessly.
  • Examine your compositions, and feel for what works. If you’re hesitating about whether an image is good enough, it’s often best to move on.
    Tip: Learning more about composition, and practicing what you learn, is a great way to quickly improve your photographs.
  • Process your photos using the best tools you’re able to get your hands on. Sometimes it’s during processing that you discover something wonderful. Learn everything you can about your processing tool(s) through experimentation, tutorials, taking a class, or watching how-to videos.
  • Organize your best photos into a series, and post one (or more) per day, or at least one every few days.
  • And of course, there are social media basics: Your audience can be further engaged by an informative caption, and hashtags make your post more visible. (Knowing your audience, or desired audience, is also important, but that’s a topic for another day.)

My personal approach to strategic photo selection

As an artist photographer, I consider how well what I’m sharing communicates my personal voice. I want to offer something distinctive and authentic to an audience that appreciates my unique vision.

Like most digital photographers, I take lots of pictures on any given photo outing. Back home, with photos downloaded, I follow these steps:

  • The first pass: I cull ruthlessly, 💛-ing every potentially good image … including ones I won’t ever post, but want to save for the memories. Then I delete everything else.
  • The second pass: I de-💛 the keepers, and skim them again. For processing and possible posting, I re-💛 the few that seem to have real potential.
  • Processing: Starting with the very best, I import them into my photo processor (usually Lightroom), and get to work.
  • The third pass: With photos processed, I skim and pick the best again, and then generate a version for posting. I watermark mine, but not every photographer does.

Tip: Both when selecting the best work, and when processing those best photos, I practice standing back, an artist’s technique that can improve both tasks.

Organized photo posting

I float in and out of organized posting, sometimes using a scheduling spreadsheet, album groupings, or folders of watermarked images—organized by subject—to draw from. (If you keep a spreadsheet, you’ll have that info at your fingertips for later use.) My spreadsheet looks like this:

Screenshot of the header row of a spreadsheet. It is titled "Social Media Planner" and the column headers read:
Post date, Photo, Photo alt text, Post for Account 1, Hashtags for Account 1, Post for Account 2, Hashtags for Account 2.

We are all different, experiment and find a way of organizing that works for you.


For me, series really are a great way to approach strategic photo posting on social, as it takes out some of the guesswork in what to share next. It’s tempting to post older photos when there’s a lull, and sometimes I do that on my account. But on my Glass account I am much more selective, as I use it more as a portfolio of my best work, similar to this, my web site.

Post text / captions

There’s nothing more disappointing than seeing an interesting photograph, and finding there are only hashtags accompanying it. Include some post text or a caption, please! Depending on the length of text you’re allowed, you can give a little context, or write something more involved and engaging. Your audience would probably like some information about your image, or the thoughts you had in creating it.

Also, personality helps people connect with your posts. When captioning my photos, I frequently try to communicate my voice and adjust my tone according to the situation. Sometimes, instead of the usual caption, I find or write a bit of poetry. Occasionally a quote fits perfectly.

Alt Text

I believe in being inclusive. Persons with impaired vision might be using a screen-reader to peruse the web, and they deserve to know what an image I post is about. Therefore, I include Alt Text—a brief description of my photos—whenever a social media platform allows. This can be simple, something like, “Photograph of two trees in a soft peach mist” for the image below. (I tend to write more because, well, that’s me. I like painting pictures with words.)

Photo of two tall pine trees in a soft peach-colored mist, with greenish-gray foliage in the foreground, and a low bank of barely visible trees in back.


Where possible, be sure to include relevant hashtags in your post, to help new viewers find you. To learn more, look up recommendations on hashtags, for whichever social media platform you’re on.

It’s a good idea to visit any hashtags you plan to use, to see what’s there. You might be surprised to learn that not all may mean what you think, nor may they put your post in relevant (or quality) company. For example, I recently saw someone post that they’re working on their MA (Master of Arts) thesis on the garment industry. They’d decided to use the hashtag #MArathon for their MA-related posts. It’s a cute idea, but anyone who clicks on that hashtag will naturally see posts about marathon running, an unrelated topic.

I’ve developed my own distinct hashtag for my artistic work, and I include it in the captions for all of my artist photography, wherever it makes sense. When a viewer clicks on my unique hashtag, they can see every media post I’ve made, before (hopefully) deciding to follow me. You might consider doing the same.

I hope this has been helpful!

Thanks for your time and attention, both are valuable. 🙏🏻
I invite you to view my photographs and paintings, and to learn more about me.

If you liked this post, you have options:

©Marlene Breitenstein. I welcome your inquiries about purchasing, licensing, or republishing my work. I take my intellectual property seriously. This post and its contents, unless otherwise noted, is owned by Marlene Breitenstein. It is not to be reproduced, copied, or published in derivative, without permission from the artist.