Judgement Day For Apple?

In a twist that appears to have slipped by largely unnoticed, the news that Apple's iPhone and 3G version of the iPad are storing detailed location data for subsequent transfer to synchronised computers, broke, in the UK at least, on 21st April 2011. Fans of the Terminator series will recognise this date as Judgement Day.

Quite why Apple is storing the data and what present or indeed future use they intend to make of it is unclear, and Apple aren't saying. It's also true that mobile telephone companies store the same data, but in their case it's held securely behind firewalls. The location data stored on a synchronised computer is visible to anyone with access to that machine.

Although public opinion appears to be mixed, with many people appearing unconcerned, there are clear implications for anyone with perfectly legitimate reasons for keeping regular routes used and locations visited from falling into the wrong hands.

Here's a trip I made to France as stored by my iPhone and recovered from my Mac, showing the route I took by car. Zooming in reveals with fair accuracy, the location of the shoot itself and the hotel I stayed in. My recent trip to Brussels is also shown in the top right of the picture.

Equipment Price Rises and Short Supply Following Tsunami

As anticipated, the price of some professional camera equipment in the UK has risen by more than 10% in the month following the Japan tsunami with some items now in short supply. This means a Nikon D3S now costs a rather eye watering £3,600 from major suppliers. It's worth bearing in mind that "new for old" insurance cover is often based on the price of equipment at the time the policy was renewed and photographers should check that they have adequate cover at the new prices in the event of a total loss.

If It's Tuesday, This Must Be Belgium

Back from a whirlwind visit to Brussels covering a conference on behalf of a client; shooting speakers, delegates and the accompanying exhibition space. I do a lot of this kind of work and believe me, it's challenging. Over the course of two days I shot, edited, captioned and uploaded more than 2,000 images to supply media outlets across Europe and it's always rewarding to watch the download statistics building in the hours, days and weeks following an event.

Conference lighting directors often use very low levels of light. It's intimate, and running the lights at such low levels makes skin glow. The eye has an affinity for the warm light of an incandescent light source reaching back to the dawn of time. For photographers this can mean working at ISO values which would have been impossible only a couple of years ago. Today, we shoot at ISO 3200 and above, confident that the quality will be there, and able to focus on an eyeball in levels of light where it's barely possible to see, let alone read.

I always like to include a few images like the one below in the coverage. This sort of picture  always finds a home in a design somewhere.

Moving quickly from a windowless room, lit largely by the reflected light from a projector screen, I made the first image using the 3000K white balance I already had set on my D3S before quickly dialing in a more technically correct white balance for the second frame. I prefer the first version.

Texture and Tone

Photographers are attracted to the strangest things. A splash of light against a wall, a patch of peeling paint resembling nothing more than an artist's palette; decay. The reminder that something passed by today will not be there forever. Stop now. Make a picture.

From a technical viewpoint, the tonal range of this picture is enormous and although the internet version inevitably compresses the shadow detail, in the original file you can see all the way into the darkest recesses. This is an ISO 800 image, hand held and without any reflectors bouncing back the light from the window. And although I carefully selected the exposure to retain the highlight detail, it's otherwise straight from the camera. No HDR tricks. This is a level of performance you only see from the high end professional cameras which retain dynamic range as ISO increases.

Nikon D3 24-70mm f2.8 lens 1/200sec F8

Japan Earthquake Update

A statement posted today on the Nikon corporate website gives an update on how the company has been affected by last week's earthquake and ensuing tsunami. The name of the city of Sendai will be familiar to Nikon users as the location of the plant manufacturing the professional camera bodies. Several other optical companies  also based in the area  are thought to be similarly affected.

The developers of the popular iOS app ShutterSnitch have announced that until 20th March 2011 100% of profits from sales will be donated to the Japanese Red Cross.

The British Red Cross is also processing donations on behalf of the Japanese Red Cross.

Out of Focus

A shoot in the midlands earlier this week meant the opportunity to visit the annual Focus on Imaging show at the National Exhibition Centre.

Attention grabbing product launches were thin on the ground this year with Nikon being between major announcements and Canon's rather dramatic last minute withdrawal.  Plenty to see on the Lastolite stand though with their demonstrations and an excellent lighting tutorial on the neighbouring Westcott stand both making the visit and the £8.00 admission price car park charge worthwhile. Westcott products tend not to receive the attention they deserve in this country and Burgess Meredith was probably the last person to be genuinely excited by a new umbrella, but their ingenious folding designs and optical white covers on the shoot through models make them the umbrella of choice here. The umbrella does seem to be undergoing a resurgence at the moment, with giant sized alternatives to the big Elinchrom Octa on show.

Meanwhile, back at the Lastolite Batcave, their designers have been busy developing a huge number of new products at least one of which I can see being useful in my work on a regular basis. US photographer, Joe McNally's name has found it's way, literally, onto several new products including a development of the light panel which holds four SB900 (or equivalent) flashes on an extension arm. That's £1340 just for the flashes, if you're counting. Not far off the cost of a two head Elinchrom Ranger Quadra kit and not as powerful. Obviously, used individually, four SB900's may well be the more versatile solution, particularly if used together with the product which really caught my eye, the new Hotrod strip softboxes. I've long been a fan of the Ezybox Hotshoe for fast moving location portraiture where huge amounts of flash power is not always necessary.

This portrait of Jaronne for a magazine feature was made at the side of a busy London street using a single SB800 with an Ezybox Hotshoe . A fast way to work without drawing too much attention to a photo shoot.

You're never more than six feet from an Orphan Works bill

Orphan Works legislation is bearing down upon us in the UK once more, less than 12 months after it was last thrown out of Parliament. This time, if it's not our own government it seems the EU is coming for us too.

So what is an Orphan Work and how does it affect photography?

Simply put, an Orphan Work is  any intellectual property for which the owner cannot easily be traced.  Following a "diligent search" in Orphan Speak, the work, or image in our case, may be copied, reproduced and distributed without the inconvenience of any money changing hands. Except that is, for a token fee deposited with a yet to be created government orphan licensing agency.

Unfortunately for photographers, it's all too easy for our work to become orphaned once it appears on the internet. Few sites upload IPTC metadata in image files and many will actively strip it out. Once an image has been downloaded it's an orphan.

If that wasn't bad enough, the global nature of the internet means the work of photographers from the US, with its system of copyright registration and punitive damages, to Germany where intellectual property is inalienable, will find their work has not only lost its protection but the UK Exchequer has benefited at their expense.