Quote Originally Posted by pentaxuser View Post
Just to return to this for a moment. If you have a film camera then the only thing you can do to comply with your delete/destroy /surrender is to take the whole film out, expose to light and destroy the whole roll

Are you saying you'd do this even if the other 15/35 frames were not of the person who objected to the photo after you had taken the exposure? Your quote above implies that this was an after-the-event occurrence. If you had checked with the person in advance and he/she had objected then none of the above options of delete/destroy/ surrender would have arisen.

If the picture is taken with a digital camera it is simple to show the person, who is objecting, the picture and delete in his presence. No such method is open to a film photographer.

He/she can either destroy the whole film or at best persuade the objector that he will faithfully return the negative to the objector, promising to have made no prints of the offending negative.

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The first sentence is absolutely true. In Australia any photography of restricted areas, including airside aviation features, planes on the tarmac etc., engineering, is prohibited. This also includes passengers inside the plane photographing anything outside the window when taxiing to the terminal. If a photographer photographs something and is stopped by ground or plane crew, he/she will be asked to delete those images (in the presence of those/that staff member). If it is on film, the film will have to be surrendered — there is no second option.You will potentially lose everything on that roll (there have apparently been a lot of this happening in Perth, Sydney and Brisbane!), not just the dramatic angles featuring planes etc. The photography is not allowed, and that's it — there is no half-way point of giving an undertaking to separate the offending photographs from the rest of the benign images on the roll of film. The onus is on the photographer to be aware of regulations and rules and adhere to them. There will always be rambo types in photography thinking they can do what they want — to some extent it is their actions which have painted all other photographers with the same brush.