Monday, 2 November 2009

Nikon CLS system basics

The easiest way to use out of camera flashes is to use wireless radio triggers, like the professional Pocket Wizards or cheaper Chinese made triggers like the Cactus.

When wireless radio triggers are not an option it is worth remembering the Nikon CLS system which uses a commander flash to control a group of remote flashes using pre flashes emitted before the shutter opens.

Most Nikon cameras with a pop-up flash (D80,D90,D200,D300,D700 surely) can enable commander mode to control a group of remote flashes. The SB-800 speedlight can also be used in commander mode.

Just one thing to remember is that the remote flashes need to receive the pre-flashes and that the small sensor is situated on one side, near the battery compartment.

Wednesday, 23 September 2009

Using the zoom setting in your flash

First, most external flash units can move the flash head to "zoom" the flash, but not all can. Normally, matching the flash zoom with the focal length allows the light to spread as much as possible.

If you set the flash zoom to a longer setting than your lens it will darken the corners of the photo and enhance anything in the center. When using umbrellas, the zoom should cover the entire modifier without spilling over. When using softboxes the flash should be zoomed in to cover the entire surface of the modifier.

Concentrating the beam provides better illumination at a distance. When bouncing from walls or ceilings that act as a huge softbox, a concentrated beam may provide more reflected light, but a wider beam may be softer if the walls or ceilings are close.

Thursday, 30 July 2009

About licenses

Recently I was asked why it is that I keep my flickr photos with a copyright and I realize I had no easy answer for it.

In my professional life as a software developer I am an enthusiast of open source licenses. Not because I think software developers don't need an income and should dedicate their life to altruism, but because I believe that openness, peer review and cooperation are beneficial to the developer, the software community and the world as a whole. I actually believe that most of the exciting stuff happening on the Internet nowadays, like social media, wouldn't have happened without open source licenses. And that some of the worst things, like spam and viruses, have much to thank to Microsoft and their closed source technology.

This is not to say that I don't believe developers shouldn't be paid for their work. Developing good software is not easy, and remuneration is important. It is true that there are other ways to profit with open source licenses, mainly support, but profit is important to keep innovation going.

Still, an inherent problem with digital technologies is its resellability. Because a product is produced once but sold multiple times, we have situations were profits are just too much. A typical example is Microsoft, generating profit well above what is beneficial for the software community. A Microsoft style of company maximizes profit based on inhibiting the competition, creating monopolies and using their patent arsenal to fight against smaller competitors. And that is not healthy for the common good.

So, in software my ideas are clear. Similarly, I have the same approach to music and movies, to the entertainment industry in general. Profit is important because it keeps the industry healthy and innovative, but excessive profit just because digital products are resellable, huge salaries for actors, big margins for music discographies are not. Profits need to be good enough to keep innovation and production alive, but not too much so that it can be used to give too much controlling power to a few. And the Internet has helped a lot to avoid this.

But photography is a difficult one. Nobody is making too much profit out of images. Open licenses don't offer any immediate benefit in innovation, while it means that beginners and small companies that still have to pay their expenses and equipment don't get paid for what they do (who is going to pay for a free to use photograph?). So in photography, I believe keeping the copyright and offering different licenses when there is interest is the best option for me. Nothing stops me to issue a different license to specific individuals or companies on some images if I think it is fit, but I like keeping all rights by default.

In summary, choosing a license is a personal thing to do, and you may find that different industries require different approaches.

Friday, 10 July 2009

Creative commons license on static content

A friend of mine had some Creative Common licensed photos on flickr. Along comes Getty Images and selects them to be included in their site. When he agrees, they change the Creative Commons license for a copyrighted one.

What is the real value of these photos for Getty? If someone uses the images, they could always argue that they had a CC license at the time. But worse, if Getty sues them, how could they prove the photos had a CC license when they were fetched?

In software terms, a software is released with a license, which can then be changed for following releases. What happens when we license something static as a photo? Is it valid to change the license after it has already been made publicly available with an open license?

Thursday, 28 May 2009

Watermarking your images with steganography

Once your images, be it photos, digital art, comics or whatever are uploaded into the web to blogs, web pages, flickr etc. there is the risk of improper usage.

The most obvious way to protect your images is the watermark which most image manipulation programs can insert. These are difficult to remove and usually protect your content well enough.

The options when you don't want a big watermark spoiling your image are less ideal. Most (if not all) digital watermarking techniques use steganography methods, that is hidding the watermark inside the image data. And most of them can be fooled. Their biggest weakness is that the current algorithms have problems to hide content on small images, for example less than 100 x 100 pixels. So, an easy way to circumvent the watermarking is to cut the image into cubes and add them together at display time. Also, some algorithms will lose the watermarking with simple image manipulation techniques as resizing and cropping.

But steganography has one advantage, and that is the fact that it is not obvious that the image is protected.

An important factor when deciding how to protect your images is to decide what are you trying to protect them against. Steganography won't protect your images against them being manipulated, but it can protect them from being resold "as is". So, if someone wants to use my image as a starting point for some other design work, steganography won't stop them. But probably watermarking won't either.

Some things that don't bother me that people do with my photos:

  1. Print them and enjoy them privately. Hey, maybe they will commission some work, show it to their friends etc. Word of mouth is a powerful thing.
  2. Use them as a starting point for artwork. I am personally an open source enthusiast and I think the philosophy applies to other areas of life as well. Usually the end result will be different enough from my original work that it could be considered more inspiration than anything else. And they may even mention my name.

Things that I want to avoid:

  1. Someone using my work as if made by themselves.
  2. Someone reselling my work without my consent.

And for these two, steganography probably works because they would like to have the best quality unmodified copy of the images. Also, if they can't be bothered to use their own work, they will also won't be bothered to put some work into discovering if the images are watermarked or not. And if they actually run an application to discover that they are watermarked, they still won't know what method to use to effectively remove it - the safest thing would still be to move on and copy somebody else's work.

So, I have started using an open source program to digitally watermark my photos. Its called outguess. One of the drawbacks is that you have to compile it yourself.

On a Linux platform, just do:

tar xvzf outguess-0.2.tar.gz
cd outguess
./configure
make

This assumes you have development tools installed. For Ubuntu/Debian try:

sudo apt-get install build-essential

if it fails to build.

Once the binaries are there, just do:

./outguess -k "mykey" -d message.txt input_file.jpg output_file.jpg

Where:

mykey is any text string you want. I use an email address as it's easy to remember.
message.txt is a text file with the message you want to embed, something like 
- (c) 2009 myname All rights reserves - myemail@server.com -

To extract a message from a file, just do:

./outguess -k "mykey" -r file.jpg extracted_msg.txt

Where:

mykey is the same key use to embed the message.
file.jpg is the output file of the embedding command
extracted_msg.txt is a text file where your message will be printed.

I personally use a small python script to apply the watermark to a batch of files.

Tuesday, 17 February 2009

My photographic process

  • IMPORT: Copy the files to my folder structure, under YYMMDD/raw. In Lightroom, import from location into the catalogue for the corresponding year (one year per catalogue)
  • CLEANUP: Reject all photos which don't meet minimum quality standars, like out of focus or badly composed.
  • RATING: Rate them from one to five stars.
  • DELETE REJECTED: Permanently delete rejected photos from the hard drive.
With 3,4 and 5 starts only:
  • EDITING: Edit 3, 4 and 5 stars photos. Depending on the number maybe only 4 & 5 stars. Typically I edit between 10 and 15 photos.
  • MASTER FILES RELOCATION: Only 3,4 and 5 stars photos are kept on the catalogue, the rest are removed (but not deleted from disk).
  • TAGGING: Tag the edited files with as many keywords as possible.
  • EXPORT: Export the edited photos as JPGs to the YYMMDD/post folder.
  • BACKUP: Weekly, the whole photo archives and catalogues are backed up on a mirrored RAID NAS server.