描述The Temptations on the Ed Sullivan Show.JPG	English: 1969 Press Publicity Photograph 8" X 10" Original publicity still supplied by Bernie Ilson, Inc. / Publicity for Motown Records & The Ed Sullivan Show Left to right: Otis Williams, Melvin Franklin, Eddie Kendricks, Paul Williams, and Dennis Edwards
日期	On or about September 28, 1969
來源	http://www.ebay.com/itm/THE-TEMPTATIONS-Press-Publicity-PHOTO-Motown-Dennis-Edwards-/350585721862?ssPageName=ADME:X:AAQ:US:1123
作者	Bernie Ilson, Inc.
其他版本	This file has an extracted image: Paul Williams of the Temptations on Ed Sullivan Show.jpg.

本作品在美國屬於公有領域，因為其於1930至1977年（包括）間在美國出版，且沒有著作權聲明。更多詳細資訊，請參閱共享資源:赫特圖表，以及就出版的公共藝術品的詳細說明。 請注意美國的作品在不適用較短期限法則的管轄區可能仍然受版權保護（基於作者的逝世日期），例如加拿大（作者逝世後70年）、中國大陸（作者逝世後50年，不包括香港和澳門）、德國（作者逝世後70年）、墨西哥（作者逝世後100年） 、瑞士（作者逝世後70年）及其他有本地條約的國家。 العربية ∙ беларуская (тарашкевіца) ∙ čeština ∙ Deutsch ∙ Ελληνικά ∙ English ∙ español ∙ français ∙ Bahasa Indonesia ∙ italiano ∙ 日本語 ∙ 한국어 ∙ македонски ∙ Nederlands ∙ português ∙ русский ∙ sicilianu ∙ slovenščina ∙ ไทย ∙ Tiếng Việt ∙ 中文（简体） ∙ 中文（繁體） ∙ +/−

Additional source information:

Bernie Ilson, Inc. has usually not included explicit copyright notices in its publicity photos, as shown in this 1983 photo of Susam Hammett and Michael Landon and another 1983 photo of Hammett.

As stated by film production expert Eve Light Honthaner in The Complete Film Production Handbook, (Focal Press, 2001 p. 211.):

"Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary."

Nancy Wolff, includes a similar explanation:

"There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them." (The Professional Photographer's Legal Handbook By Nancy E. Wolff, Allworth Communications, 2007, p. 55.)

Film industry author Gerald Mast, in Film Study and the Copyright Law (1989) p. 87, writes:

"According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible."

Kristin Thompson, committee chairperson of the Society for Cinema and Media Studies writes in the conclusion of a 1993 conference with cinema scholars and editors, that they "expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements. . . [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs."[1]