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RGKit Play is a modular motion control kit that’s already funded on Kickstarter

25 Sep

Argineering has launched a Kickstarter campaign for RGKit Play, ‘the first-ever modular wireless motion control kit that allows creatives to add movement to their design and camera.’ The campaign has already eclipsed its $ 50,000 funding goal by more than $ 25,000 at the time of writing.

RGKit includes motors, accessories, light controllers, sensors and a phone application and aims to simplify the process of creating mechanical motion. Argineering states that RGKit Play can be used for tasks such as videography and stop motion. Using the accompanying application, you can use RGKit Play to perform tasks such as moving your camera and a product while recording product video, rotating your camera around a subject and more.

In order to maintain stable and smooth movement, the RGKit Play has built-in motion stability features. Through the app, the user has precise control over distance, time and speed. The Camera Slider can carry up to 11 lbs. (5kg) and moves at up to 2″ (5cm) per second.

Using RGKit Play appears very simple. You mount the kit’s modules and accessories to your camera and fire up the app. Without needing to code, you can create a customized sequence of movements while adjusting speed, acceleration, duration, delay and more. There is also an automatic mode available. Accessories include a camera slider, pusher, pulleys, rotator, arms, rotator mounting, clamps, adjustable arms and more.

RGKit Play’s price depends upon the selected kit. The beginner kit, which does not include the camera slider, starts at $ 190 USD. The camera slider first appears in the RGKit Play: Videographer kit. This kit starts at $ 740 with early bird pricing. The eventual retail price for the Videographer kit will be $ 999. RGKit Play is scheduled to start shipping to Kickstarter pledgers in June 2021. To learn more about the RGKit Play and get details on each component and available configurations, head to Kickstarter.

Via DIY Photography


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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Coronavirus: Whatever happens next, COVID-19 is already having an effect on the photo industry

03 Mar

Coronaviruses are a large family of viruses that cause illnesses ranging from the common cold to severe acute respiratory illnesses such as Middle East Respiratory Syndrome (MERS-CoV) and Severe Acute Respiratory Syndrome (SARS-CoV).

In December 2019, doctors in Wuhan, China, started to identify cases of what looked like a new form of coronavirus, called SARS-CoV-2. The disease caused by SARS-CoV-2 has since been given the official name COVID-19. Local quarantines were put into place, but you know what happened next: COVID-19 has spread across the globe, with more than 87,000 confirmed cases as of Monday March 2nd, 2020.

So why is a new illness – which has killed far fewer people than normal strains of flu in an average year – being taken so seriously?

‘An economic pandemic’

The medical risks of COVID-19 are still being assessed, and are beyond the scope of this article, but inevitably, much of COVID-19’s impact so far has been economic.

The economic impact is here, and it’s very real. Recent record falls in stock markets all over the world are a clear indicator of what one analyst called an ‘economic pandemic’,1 which reflects a growing worry that markets could be badly hit by the consequences of what is now a global problem.

Last month, as a result of COVID-19, Chinese manufacturing fell to a record low

But first, to China – because China is important. In 2018, China accounted for about 16% of the global economy, and about 28% of global manufacturing output. And last month, as a result of a loss of output caused by COVID-19, Chinese manufacturing fell to a record low.2

A disruption to iPhone production in China was enough for Apple to issue warnings about revenue this quarter.

‘Chinese manufacturing’ encompasses everything from cars to smartphones, not to mention the myriad of tiny components that end up inside virtually all consumer electronic devices. So when factories in China shut down, that creates a problem. Around five million jobs in China rely on Apple device manufacturing alone, and the company has already warned that it will miss revenue goals as a result of the outbreak.3 It is estimated that up to 760 million people in China are currently subject to some kind of travel restriction. For context, that’s more than double the entire population of the USA.

Effect of disruption in China on consumer digital imaging industry

It makes sense that a major drop in production of iPhones would affect Apple’s bottom line. The company’s Zhengdou facility is estimated to churn out up to 500,000 of them a day,4 and the company sells about one hundred times that number in a good quarter. That’s a rate of production – not to mention sales – far in excess of any digital camera, but in the photo industry, too, the effect of the COVID-19 outbreak is being felt.

To take just one example, after closing completely for a time, Fujifilm’s facility in China re-opened in mid-February but has been operating at reduced capacity since then. This has caused disruption to the production of its popular X-T30 and X-T3 models, and the company cannot confirm when it will be able to ship the new X-T4.

It’s not just Fujifilm. Most consumer digital imaging (DI) companies manufacture some of their products in China, and are now feeling the effects of industrial disruption inside the country.

With the ever-changing situation on the ground […] it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China

In private conversations with representatives from several imaging companies (who asked not to be quoted directly) the words I’m hearing most often are all the ‘un’s – ‘unknown’, ‘uncertain’, and perhaps most frequently, ‘unclear’.

Right now, it seems that some, if not all of those camera and lens companies that rely on Chinese factories do not even know for certain how much manufacturing capacity they currently have at their disposal. With the ever-changing situation on the ground, rolling quarantines and restrictions on local travel within the country, it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China.

Everyone that I spoke to expressed the same hope: that the long-term impact will be limited, and things will become clearer in the coming weeks. But more than two months after the virus was first reported, it’s obvious that even to those on the inside, a lot is still unknown, much is uncertain, and many things remain unclear.

The X-T4 is Fujifilm’s newest high-end mirrorless ILC. Manufactured in factories in China and Japan, it is due to ship next month, but this may change.

Japanese outsourcing to China

Japanese companies started moving manufacturing to China en masse starting in the late 1980s. The first trigger for this change was the so-called ‘Plaza Accord’ of 1985. The Plaza Accord was an agreement between France, West Germany, Japan, the United States and the United Kingdom to deprecate the US Dollar against the Japanese Yen and the German Deutsche Mark. This had the desired effect of making US exports cheaper, and created a period of growth in Japan known as the ‘Bubble Economy’.

Unfortunately, following government attempts to cool the economy down, the bubble burst and in the 90s Japan entered a protracted period of deflation and economic stagnation, known as the ‘Lost Decade’. A series of subsequent domestic economic crises, culminating in the global financial crash of 2008, led many Japanese companies to move factories to China during this time period, where production costs were lower.

Some camera brands actually don’t have a presence in China at all

By the early 2010s however, China’s economy was starting to grow rapidly and the cost of producing goods in China went up, making outsourced manufacturing less attractive.

This led to Japanese companies adopting what was called a ‘China plus one’ strategy, opening additional factories in Southeast Asia, where production was cheaper. To take Fujifilm again as an example, it has facilities in China and Japan, but in recent years has also opened sites in the Philippines. Similarly, Canon and Nikon also operate factories in Southeast Asia, in addition to China and Japan.

Some camera brands actually don’t have a significant presence in China at all. For example, Olympus’s main manufacturing base these days is in Vietnam.

The problem with global supply chains

You might assume that as a result, these manufacturers should be insulated. However, even companies with facilities all over the world may still be affected by the closure of Chinese factories and the disruption of regular trade between China to Japan. That’s because China is the world’s biggest exporter, and the source of so many ‘intermediate goods’ – component parts or sub-assemblies which go into finished products.5

With an estimated 3 million+ shipping containers currently stuck in China, not going anywhere, a lot of companies who rely on the products and components inside them are bound to be affected.

As I was preparing this article, Canon announced that it is suspending operation at five of its factories in Japan, making SLR cameras, lenses and surveillance equipment, due to a shortage of parts from China. Ricoh has delayed the planned re-opening of some of its Japanese manufacturing lines for the same reason.6

Chances are, most products labeled ‘made in Japan’ still contain plenty of parts and sub-assemblies that weren’t. As Roger Cicala of Lensrentals told me in conversation this weekend, with only a couple of exceptions ‘there really is no “made in…” anywhere, anymore’.

Sigma makes all of its cameras and lenses in Japan, but some of its Japanese suppliers still source components from China. See our recent Sigma factory tour

One of those exceptions is Sigma. As readers of our regular in-depth interviews will know, Sigma is unusual among Japanese DI companies in that it makes all of its products inside Japan. As such, according to CEO Kazuto Yamaki, issues in China are expected to have ‘relatively little impact’ on its business ‘for the time being’. However, some of Sigma’s Japanese suppliers do have factories in China, from which some component parts originate. Mr. Yamaki told me that his team is currently investigating alternative sources for these parts if it becomes necessary, and hopes that the situation will become clearer ‘in one to two weeks’.

The hope is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid disruption

It’s impossible to tell what the long-term effect of continued interruption to Chinese industrial output to the camera industry will be. It’s estimated that if Chinese manufacturing capacity remains significantly reduced for another month, through the first quarter of 2020, Japanese firms (along with those in South Korea) will be hit hard.7

The hope of course is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid too much disruption in the meantime. Of course there remains the risk that if COVID-19 continues to spread to other countries – particularly in Southeast Asia – we may yet see factory closures elsewhere in the world.

Wherever it happens, an interruption in the supply chain for consumer goods is not the only potential consequence of COVID-19 in the short to medium-term. Another worry (in fact the main worry for some of the representatives I spoke to) is the long-term effect of the outbreak on the global economy, and in the short term on the Chinese economy – and Chinese consumer spending in particular.

What happens when Chinese consumers stop buying cameras?

Manufacturing represents around 30% of China’s total economic output, and as we’ve seen, manufacturing is down. This presents a major risk to the country’s economy, which happens to be very bad news for Japan. In recent years, following a series of reforms, China has become a major consumer of goods and services. The growth of China’s middle class has increased the country’s appetite for high-end consumer and industrial goods from Japan – helped by a relatively weak Yen.8

By 2012 Japan was China’s largest trading partner in terms of exports, and in 2018, 9.2% of imports (by value in US dollars) into China came from Japan. As such, Japan’s economy is particularly vulnerable to events in China.9

Even before the emergence of COVID-19, Japanese firms were already under stress from the effects of US tariffs on China. A representative of Mitsubishi UFJ Financial Group described the US-China trade war last year as “the biggest risk to Japan’s economy” 10, and nine months on, the virus certainly isn’t helping. In January 2020, the total value of Japan’s exports to China dropped sharply, by 36%.

The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard

China is a major market these days for high-end cameras and lenses. In an industry where growth is scarce, China is one of the few places around the world where manufacturers have seen a significant increase in sales. We know that it’s a particularly important market for Fujifilm’s high-end GFX line for example, and also for Leica (second to the US), but the Chinese market is important to every manufacturer, across the whole industry. The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard.

According to one senior industry figure I spoke to, the hope among manufacturers is that matters improve by June, which is ‘peak season’ in the Chinese market. Meanwhile, partially as a result of restrictions on travel for Chinese attendees, several major international trade shows have been canceled, including CP+, which was scheduled to take place last week in Yokohama. That’s where I was meant to be right now, but instead I’m at my desk at home in Seattle, writing this article.

The CP+ trade show takes place every spring in Yokohama, Japan. This year, days before it was meant to open, organizers canceled the show citing concerns over public health in the midst of the COVID-19 outbreak.

What next?

So what happens next? Unfortunately, we don’t know. At the very least, it’s reasonable to expect that some planned releases may be delayed, backorders might pile up for some products, and we may see shipping dates slip for others. Hopefully that’ll be the worst of it.

Update: It’s already happening. Several lighting and bag manufacturers with factories in China have alerted customers to expected delays in order fulfillment, and this weekend Peak Design emailed backers of its new travel tripod to warn that shipping is likely to slip to ‘early to mid-April’.

Whatever happens from here on out, everyone I spoke to for this article stressed that right now the situation is being monitored very closely and taken very seriously. Plans are being put in place, and everyone’s first priority is the health and safety of their employees across the world. Roger Cicala told me that Lensrentals, based in Tennessee, is taking steps to get key employees set up to work from home, just in case of a local outbreak. I’m sure that similar plans are being made across the industry, and across the world.

Crises like these serve as a reminder of how small the world is

It’s worth remembering that the camera industry has proven remarkably resilient. None of us will soon forget the horror of the 2011 earthquake and tsunami, for example, which disrupted production in Japan for many months (despite an incredible collective act of self-sacrifice on the part of workers, which saw many damaged factories returned to limited operation within days). If nothing else, crises like these serve as a reminder of how small the world is, how lucky we are when things go right, and how much we rely on our friends and partners all over the globe when they go wrong. We are all in this together.

A note on sources, and thanks

While researching this article I spoke to representatives of several major manufacturers in the consumer digital imaging space, both in Japan and the US. Most preferred not to be quoted directly, in order that they could speak freely. I would like to thank all of them, but especially Kazuto Yamaki of Sigma and Roger Cicala of Lensrentals.


  1. PBS: ‘Why the economic impact of COVID-19 might outlast the outbreak’
  2. BBC News: ‘Chinese manufacturing hits record low amid coronavirus outbreak’
  3. AXIOS: ‘Apple will miss quarterly earnings estimates due to coronavirus’
  4. The New York Times: ‘An iPhone’s Journey, From the Factory Floor to the Retail Store’
  5. Carnegieendowment.com: ‘The Economic Fallout of the Coronavirus in Southeast Asia’
  6. Nikkei.com: ‘Canon suspends production at five Kyushu plants with new Corona’ (in Japanese)
  7. See 5, above
  8. 9., 10., The New York Times: ‘Japan Stumbles as China’s Growth Engine Slows’

Articles: Digital Photography Review (dpreview.com)

 
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Don’t wait for Holga – this battery-free Instax printer is already on the market

18 Oct

Toy manufacturer Tomy has announced the KiiPix, a battery-free smartphone printer that’s remarkably similar to the one Holga has been promoting through its Kickstarter campaign. The biggest difference between the two is that you can get the KiiPix today, rather than having to wait for a Kickstarter.

The KiiPix is designed very much like the Holga version, other than the pull-up bellows, and uses the same principles for copying the screen of your smartphone onto Fujifilm Instax Mini instant film.

To make a print, users are encouraged to turn up the brightness of their screen and place the smartphone face down on a frame supported by a fold-out stand. The shutter is tripped using a nearly identical side-lever mechanism as the Holga Printer, and a winding crank draws the film from the cassette through the exit slot to trigger development.

The only thing the KiipIx needs to print photos is a steady supply of Instax film. It collapses down to 135x55x175mm/5.3×2.1×6.88in to stow away easily in a bag for carrying around. The printer has been available since August, and retails for$ 40/£39. It comes in a range of colors depending on your region. For more information see the Tomy website.

PRINT PICTURES ANYTIME, ANYWHERE WITH KIIPIX

KiiPix from TOMY is the new and innovative smartphone printer that instantly prints your favourite photos straight from your smartphone to create lasting memories.

Unlike many instant cameras or photo-printing devices, KiiPix does not require batteries, an app or Wi-Fi to use; simply open up the device, place your smartphone on top, press the button and rotate the dial to print out your photo. KiiPix’s compact design means it’s easily portable so you are ready to print photos anytime, anywhere. It comes in three colours: cherry blossom, sky blue and jet black and at an affordable price point of £39.99 is guaranteed to appeal to the masses.

As the revival of retro inspired products becomes more prominent in both the fashion and technology industries, Kiipix is tipped to be the must-have lifestyle product for millennials, students and young women in 2018. From fashion, to gaming systems, to food, consumer trends show that nostalgic brands are resonating with millennials as they embrace old favourites.

There has been a huge surge in the popularity of instant photography in the last number of years as consumers turn to analogue camera equipment and discover the joy of print photography in this digital age. KiiPix combines both the new and the old, as users can capture and modify photos on their smartphones before instantly printing, retro style.

Kiipix will be supported with a strong digital and social media campaign, as well as being present at experiential consumer events; influencer marketing will also be central to the product launch.

KiiPix – SRP: £39.99
The innovative KiiPix device is light and compact, and collapses into a peggable closed box making it easily portable measuring at 135 mm x 55 mm x 175 mm. KiiPix comes in three colours, cherry blossom, sky blue and jet black. Available in August 2018. Suitable for 10 years plus.

All TOMY toys are cleverly designed to develop children’s core skills whilst they play. Manufactured to the highest standards, this collection of reliable toys continues to be a family favourite, building on the heritage and core values, which parents associate with TOMY. For more information on TOMY please visit www.tomy.com, become a fan at Facebook.com/tomy.toy.uk or follow us on @TomyToysUK.

Articles: Digital Photography Review (dpreview.com)

 
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First lens adapters for Nikon Z already appearing

20 Sep

British photographic engineer MTF Services is claiming to have created the world’s first third-party lens adapters for the new Nikon Z system, with a collection of four units designed to allow cinema lenses to be mounted on the mirrorless full frame bodies. The adapters are made with stainless steel and HE30 aluminum, and feature a toe support with steel helicoil 1/4″ threads.

The lenses the adapters are aimed at are PL, Panavision, B4 and Arri bayonet, so they are intended to appeal to filmmakers and broadcasters. The adapters come pre-shimmed, and spare shims will be included.

The PL to Nikon Z version is available to order on the company’s site for £350 + VAT (approx $ 460), and the other models are expected to follow soon. For more information see the MTF Services Lens Adapter website.

Articles: Digital Photography Review (dpreview.com)

 
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Rumor: Canon full-frame mirrorless already ‘being used by select pro photographers’

24 Mar
So far, the EOS M5 is the nearest thing Canon has made to a high-end mirrorless camera.

Rumors of a Canon mirrorless full-frame camera are heating up. Just days after our own Canon interview from CP+ 2018 seemed to hint, quite strongly, that a “high-end mirrorless” from Canon is in the works, Canon Rumors is reporting that they have “confirmed from a couple of good sources” that a full-frame mirrorless Canon is indeed being tested by select pros.

The Canon Rumors report, published earlier today, claims that “a full frame mirrorless camera is well into its development cycle,” and is in fact being used by “select Canon pro photographers” in the field. This matches up with what Canon told us during our interview at CP+ 2018. Specifically, the Canon executives we spoke to said:

In accordance with the full lineup strategy, we will be tackling [the mid-range and high-end mirrorless market] going forward.

And when we asked if it was “realistic” to expect a Canon full-frame mirrorless camera within a year, their tongue-in-cheek response was:

That would be nice, wouldn’t it?

Read our full Canon interview from CP+ 2018

Canon Rumors is “very confident we’re going to see something announced before the end of Q1 in 2019,” while other outlets have predicted something for Photokina in September. Either way, as rumors and reports heat up, it seems more and more likely the industry will be getting a major shake-up in early 2019 or late 2018.

The major unanswered question is: what about lenses? Will Canon release a new lens mount with this rumored full-frame mirrorless camera—thereby taking advantage of the shorter flange distance offered by mirrorless—will the new camera be compatible with EF lenses out of the box, or will it be some sort of hybrid arrangement?

When we spoke to Canon, the company said it “can’t simply ignore the [130 million EF lenses] in the market,” but that “we’re considering the technical advancements that are possible” with a new mount. In the end, they didn’t give us anything definitive, encouraging us instead to “let your imagination suggest some possibilities.”

Articles: Digital Photography Review (dpreview.com)

 
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Making the Most out of the Photography Stuff You Have Already

21 Sep

Several years ago I had a studio for about six months. It was really nice to have a space that I knew was always there, waiting for me to shoot in, should the need arise. The problem was that most of my shoots took place outdoors or on location, and when my trial lease period was over, I couldn’t rationalize staying on at the monthly rental rate. What didn’t occur to me at the time was that I had a perfectly good, albeit small, basement at my disposal. Due to the low, 80″ (6.6 foot) ceiling, the narrow, 10’x20′ shooting area, and the generally dark ambience of an unfinished basement, the thought of shooting down there had never crossed my mind. It wasn’t until I moved out of my studio and no longer had a place to store my gear, that I even ventured down there with my equipment.

IMG 8174

The setup began simply enough, with me doing little more than editing at a table down there. Over the months that followed, I did the occasional head shot or product shoot, quickly realizing that I didn’t need as much space as I originally thought. Sometimes a problem would arise, like when I needed to shoot a full body portrait of a guy who was over six feet tall. I began modifying the space accordingly, such as adding white panels to the overhead joists to reflect light.

I wanted a white seamless set up, but the backdrop stand legs were too wide to allow for the 8 foot wide white vinyl roll. Instead, I discovered that I could run a rod from the top of the air condition duct to a C-stand and just barely fit it in the space, pulling the sweep just out to the edge of my desk. This allowed a depth just long enough to light the subject and background separately, which meant I could accomplish a pure white background (if the space was any more shallow, the subject would be stepping in to the backdrop light, blowing them out with the light).

Tumblr navcq2zXA81qzpmooo1 1280

The other issue with a small shooting space is that you don’t have the space to back your lights off of your subject. As you may know, if you want soft light on your subject, you need to make your light source large and diffused or indirect. The problem was that if I added even an smaller umbrella to my strobe stand it meant that I’d have to lower the light the length of the radius of the umbrella, leaving my light at a max height of around five feet (too low). The narrow width of the shoot space also meant that I couldn’t simply hang up a white sheet and shoot through it, which is a common workaround in making a small light source larger.

IMG 8294

I eventually figured out as a solution which was to place a 40″x60″ white board on my desk, beside where the subject usually stands, and shoot light into the board, several feet in front of the subject. By securing a credit card, or something of a similar size and opaqueness, to the side of the strobe, and zooming the flash in to 105mm, I was able to get my light stand out of my view of the subject as well as create a large, reflected light surface, that ran all the way up to the ceiling. This large light source was fantastic in creating a giant catchlight in the subject’s eyes, sunglasses or any reflective surface. I also added a small, white v-flat to hide the background light, which also served in reflecting some of the light onto the opposite white wall, helping to further light the subject.

IMG 8288

IMG 8290

Keep in mind that within the small confines of this setup, the subject is pretty much fixed in one spot. If they were to move forward at all, the crosslight will create odd shadows on their face, or if they move backward, they would get caught in the harsh background light.

Tumblr navcq2zXA81qzpmooo4 1280

What sorts of innovations have you come up with to work within your space or equipment limitations? Share in the comment section below.

Links to other DIY projects for you:

  • DIY How to Build and Use a Reflector to Take Better Portraits
  • Light Tent Comparison – DIY Versus Kit Tents
  • A project for the New Year: How to make a DIY Ground Pod
  • 27 Amazing Macro Snowflake Images Shot with a DIY Camera Set Up

The post Making the Most out of the Photography Stuff You Have Already by Nick Fancher appeared first on Digital Photography School.


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Post-Olympic Abandonment: Sochi Already on the Road to Ruin

09 Sep

[ By WebUrbanist in Abandoned Places & Architecture. ]

sochi ghost town olympics

The Olympics have a long history of leaving a mixed legacy in their wake but the story of Sochi is particularly strange – it was never completely finished in the first place, and is already nearly abandoned less than a year after it hosted the Winter Games of 2014.

sochi art abandoned deserted

sochi remains building square

sochi abandoned after games

Already located in a remote area of Russia (albeit near the country’s largest resort area), it is perhaps no surprise that this Olympic Village would not be sustainable after serving as a venue. Russian photographer Alexander Belenkiy recently visited to document the deserted architecture of the area.

sochi ghost town river

sochi empty bridge scene

sochi sidewalk river place

His photos show what you might expect – empty streets, sidewalks, buildings and parking structures, many showing signs of degradation and disuse. Anyone who tuned into the media attention during and in the run-up to the games knows that the facilities were also in many cases shoddily constructed or incomplete to begin with.

sochi failed parking structure

sochi abandoned deserted place

Stylistically, the architecture is a strange mix of contemporary and chistorical with elements of rural-town traditionalism, resort-village detailing and decorative columns, colors and facades spanning and mixing various movements and periods. Without upkeep, though, these eclectic remixes may not be long for this world.

sochi russia 6 months

sochi after the games

sochi deserted city streets

TThis was Russia’s first time hosting the Winter Olympic Games, but it had to start largely from scratch: “The site of a training centre for aspiring Olympic athletes, in 2008, the city had no world-class level athletic facilities fit for international competition. To get the city ready for the Olympics, the Russian government committed a $ 12 billion investment package. According to some estimates, the investments necessary to bring the location up to Olympic standards may have exceeded that of any previous Olympic games. By January 2014 the construction costs had been reported to exceed the $ 50 billion mark, making it the most expensive Olympic Games in history.”

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[ By WebUrbanist in Abandoned Places & Architecture. ]

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News Flash Fellow Photographers You’ve Already Sold Your Soul To Facebook

09 Sep

The past week has been an interesting roller coaster ride with photographers and other creatives sounding the alarm about Facebook’s pending Data Policy and Statement of Rights and Responsibilities changes. On one hand good for photographers for taking note and on the other hand too bad photographers don’t realize their pact with the “devil” is already signed regardless of this particular revision to Facebook’s governing documents. Let me be blunt. If you’ve been using Facebook to this point everything you fear has already been realized… too little, too late.

First, let’s cover one thing, you should care about my opinion because I’m intimately familiar with Facebook advertising.  Second, I’ve been writing for a long time about the pitfalls of  social media on my blog and in magazines, terms of use changes and social media best practices. Third, I’m a photographer and I care a great deal about protecting my photographic work and passing on that information to fellow photographers of an equal mindset. The one caveat you need to take into account before reading on is that I am not a lawyer and what I’m sharing with you is just one man’s opinion, so take it for what you will.

If you’d like to follow along I’ll be referencing the following documents quite heavily, the redlined revisions that Facebook is now reviewing feedback on.

• Statement of Rights and Responsibilities (SRR)

• Data Use Policy

Why you’re already “screwed” if you’re using Facebook (& even if you don’t)

Point #1

You’ve already signed away the rights to have your posted images on Facebook used even if you decide to jump on a high horse and leave Facebook. Yes, you’ve already committed the content you’ve posted on Facebook to the terms you hate because you sought the attention of your peers in the hope they’d share it. The following is a portion of the SRR that are unchanged and have been in place for a long time:

2. Sharing Your Content and Information

You own all of the content and information you post on Facebook, and you can control how it is shared through your privacy and application settings. In addition:

1. For content that is covered by intellectual property rights, like photos and videos (IP content), you specifically give us the following permission, subject to your privacy and application settings: you grant us a non-exclusive, transferable, sub-licensable, royalty-free, worldwide license to use any IP content that you post on or in connection with Facebook (IP License). This IP License ends when you delete your IP content or your account unless your content has been shared with others, and they have not deleted it.

So if you leave and delete your account, any image that has been uploaded and shared will stay on Facebook until every single person that shared it deletes their share. And… will be subject to how Facebook decides to use the content.

Point #2

You already volunteer data to Facebook about your activities and interests through Facebook social plugins, namely the “Like” button found on most 3rd party web sites. (See What are Social Buttons) Even more interesting is that you’re sending data about your activity to Facebook even if you don’t have a Facebook account or are logged out of Facebook. Don’t believe me? “Read Facebook’s FAQ entry What information does Facebook get when I visit a site with the Like button or another social plugin? For many unfamiliar I’m sure this will be an eye opener.

“If you’re logged out or don’t have a Facebook account and visit a website with the Like button or another social plugin, your browser sends us a more limited set of information.”

To top that off as of a year ago it was estimated nearly 1/2 of all web pages (49.3%) were Facebook integrated as compared to Twitter (41.7%), Google+ (21.5%) and LinkedIn (3.9%) (worst case numbers via Pingdom)

The Sky is Falling, Again… Thanks to A Court Settlement

Photographers everywhere including professional, semi-pro and amateur have recently been airing concerns and alerting peers because of this highly offending update:

You can use your privacy settings to limit how your name, and profile picture may be associated with commercial, sponsored, or related content (such as a brand you like) served or enhanced by us. You give us permission to use your name, and profile picture, content, and information in connection with commercial, sponsored, or related that content (such as a brand you like) served or enhanced by us, subject to the limits you place. This means, for example, that you permit a business or other entity to pay us to display your name and/or profile picture with your content or information, without any compensation to you. If you have selected a specific audience for your content or information, we will respect your choice when we use it.

This does at first glance sound bad, but it represents activity that Facebook was already performing with Facebook Sponsored Ads and Sponsored Stories. Due to a class action lawsuit, Angel Fraley vs. Facebook Inc. CV 11-01726 RS (PDF) in Northern California District Court concerning privacy and permission issues in Sponsored Ads & Stories, a settlement was reached requiring Facebook to include this very text word for word. See page 6 section 2.1(a) under Settlement Terms.

If you keep reading though in section 2.1(b) Facebook is also required to provide their users the ability to manage which of their content can be used in Sponsored Stories.

User Visibility and Control Over Sponsored Stories. Facebook will create an easily accessible mechanism that enables users to view, on a going-forward  basis, the subset of their interactions and other content on Facebook that have  been displayed in Sponsored Stories (if any). Facebook will further engineer  settings to enable users, upon viewing the interactions and other content that are  being displayed in Sponsored Stories, to control which of these interactions and  other content are eligible to appear in additional Sponsored Stories. Without  limiting the foregoing, but for the sake of clarity, these settings will include the ability to enable users to prevent individual interactions and other content (or categories of interactions and other content) from appearing in additional  Sponsored Stories.

Good and Bad

As a long standing ASMP member I highly respect their opinions on the matter (see Beware Facebook’s New Terms of Service), but the alarm is really too late. They should have read the tea leaves (that were pretty well spelled out) in the class action lawsuit settlement noted above. The email alert I received from ASMP highlights how even the savviest of photographers and associations missed the boat long ago.

The new Facebook Terms of Use have been modified to allow the company to sell virtually anything that is uploaded to the service, including all your photos, your identity and your data. Facebook has also explicitly removed the privacy protection from the commercialization rights.

This means that any photos uploaded to Facebook may be sold, distributed or otherwise commercialized with no compensation to the photographer.

Facebook has and will continue to commercialize content uploaded to the service. The latest changes to the SRR reflect past Facebook activity and just spell it out in greater detail. Facebook is free in a monetary sense as you don’t pay a subscription, but you do pay daily with the currency of your privacy and content.

On the other hand Facebook does provide a valuable and good service to its members allowing an incredibly streamlined platform to interact with friends, fans and customers. While many Facebook users likely are unaware of the tradeoffs they’ve made, they benefit from the service overall. Still for many how the  sausage is made isn’t pretty and it is scary. Case in point Facebook’s own definitions of how everyday Facebook activity is used to make the service work overall (via Facebook Data Use Policy):

We receive data about you whenever you use or are running interact with Facebook, such as when you look at another person’s timeline, send or receive a message, search for a friend or a Page, click on, view or otherwise interact with things, use a Facebook mobile app, or purchase Facebook Credits, or make other purchases through Facebook

And if that interests you there are 4 more paragraphs following that one in the Data Use Policy detailing other types of behavior and data that are tracked. On the upside most user data is kept anonymous so even if reading this scares you know all is not lost… if you trust Facebook.

Is Facebook Really the Photographer’s Boogieman?

ASMP has one important point that has to be repeated, “One of the things ASMP and its allies are most concerned about is that these usage terms and attitudes towards users’ content are becoming the norm.”  On this front I agree. Of all of Facebook’s transgressions it is this repeated effort to erode individuals expectation of online privacy. Without fail Facebook regularly makes changes that reach very far and then they pull back a little. This amounts to taking 5 steps forward and then 2 steps back, netting 3 steps forward. Privacy and content that qualifies as a photographer’s intellectual property (IP)  is certainly a different subject right?

Photographers have a knack for sounding the alarm when it comes to the unauthorized use of their intellectual property and rightly so. Adding to the concern is when usage terms are vague and the manner in which IP is used is completely new. In this regard photographers need to weigh the pros and cons of the service and its terms.  Since writing about Facebook I’ve yet to see Facebook steal or misuse images in a traditional sense and I doubt they will. As most stock photographers know the value of stock continues to plummet so Facebook is likely to continue making billions with advertising versus creating a new stock agency with pilfered images. Facebook is and will always continue to be about the data and the ads. If anything Facebook is a privacy boogieman not a photography boogieman.

If you’re concerned about how your content (updates, photos, video, etc.) are being used and you’re just now alarmed you have missed the boat. That ship sailed long ago, but on the upside if you haven’t seen wide spread abuse of your content yet then you’re unlikely too. It’s not to say it couldn’t happen, but so far I’ve yet to see it. Flickr by comparison actually had egregious abuse of  IP. Two things to remember as you worry about your IP on Facebook:

1. How are you using Facebook to your advantage to further your business and has it been profitable?

2. Where was your alarm when Facebook laid claim to distribute your content unconditionally?

I’m really not trying to be facetious. My point is that Facebook does provide value by allowing photographers to expand their audience, introduce their work to others and convert sales from that audience. If Facebook’s terms are truly offensive then it is the right thing to stop using Facebook. For years I’ve taken an incredibly cautious approach with Facebook uploading and sharing 60 low resolution photos over the course of 7 years. All my other updates have been links back to my blog and web site(s). It’s not the best way and certainly not the most profitable way to use Facebook, but it’s the one I feel most comfortable with. There lies the kernel of it all, balance your use of Facebook to your comfort (or discomfort) level. It is certainly possible to make far more with Facebook through creative means even if it means sacrificing traditional revenue streams and IP best practices. On the other hand if your traditional means of creating revenue are working for you then it’s a no brainer to stop using Facebook with photographer unfriendly terms.

Oh and about those Facebook changes to the Statement of Rights and Responsibilities, feedback ended last week and any changes that Facebook makes will be announced this week barring the FTC gets involved. I wouldn’t hold your breath that many changes will be forthcoming if the FTC decides not to intervene.

 

Copyright Jim M. Goldstein, All Rights Reserved

News Flash Fellow Photographers You’ve Already Sold Your Soul To Facebook

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