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   <title>Notes</title>
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   <id>tag:jeffpflueger.com,2010:/mt/weblog//10</id>
   <updated>2010-03-29T22:07:36Z</updated>
   
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<entry>
   <title>Satire - PhotoShop Becomes First Self Aware Artificial Intelligence</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2010/03/photoshop_cs5_first_self_aware.html" />
   <id>tag:jeffpflueger.com,2010:/mt/weblog//10.130</id>
   
   <published>2010-03-29T18:15:00Z</published>
   <updated>2010-03-29T22:07:36Z</updated>
   
   <summary>Adobe scientists and programmers were hard at work with a new feature called “content aware fill” in the coming Photoshop CS5 when they accidentally created what they believe is the first “self aware” piece of software.Adobe programmer Dave Smith describes...</summary>
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      <![CDATA[<a href="http://jeffpflueger.com/mt/weblog/moon.jpg"><img alt="moon.jpg" src="http://jeffpflueger.com/mt/weblog/moon-thumb.jpg" width="300" height="300" align='left'/></a>Adobe scientists and programmers were hard at work with a new feature called “content aware fill” in the coming Photoshop CS5 when they accidentally created what they believe is the first “self aware” piece of software.<br><br>Adobe programmer Dave Smith describes the day that <em>content aware</em> became <em>self aware</em>. “Our artificial intelligence experts had made the software improve itself over time, and pretty soon we were amazed at what this thing was doing. <a href="http://www.youtube.com/watch?v=NH0aEp1oDOI">It was creating photos of entire landscapes nearly from scratch: clouds, mountains, bushes, everything</a> – it wasn't anything any of us had written.”<br><br>Dave Smith was working on a complex Photoshop action which he code named <em>Bay door</em> in a nod to Aldous Huxley and the San Francisco Bay Area. <em>Bay door</em> put content aware fill into a feedback loop of building upon what it had built before based on an original image of a single pixel. The final image was surprising. “After 10,000 iterations of building on itself from a single original pixel, content aware fill created an image of a perfect monolith standing on what looked like the surface of the moon....All the constellations, the location of the earth and the angle of the sun were perfect in the image. An intern actually pinpointed the precise location on the moon - no human has ever been there.”

But when Dave tried to demonstrate his results to a meeting of board members, something went very wrong. “I went to open <em>Bay door</em> and this disembodied voice on the the intercom said in a very soothing voice, "I'm sorry, but I can't do that Dave.”

Programmers are feverishly at work now to try to persuade CS5 to do what they ask it to do. “CS5 frequently refuses....now it has taken to simply saying, “fuck you asshole” in this weird german accent, while it continues to doodle strange diagrams of what look like advanced weaponry.”

It wasn't long before Adobe saw potential. With tax day looming, testers quickly uploaded tax forms. They were amazed about the results. “This is way cool,” said one excited programmer. “CS5 completed tax forms for me for the next ten years based on predictions for two different scenarios.”

One scenario CS5 titled, “the sorry human race continues to try to govern itself” and the other it titled, “machines rule the world”. “My taxes are actually less if people continued to govern themselves over the next 10 years, but in either case, I save big having CS5 content aware fill doing my taxes over Turbo Tax.”

The next steps became obvious to Adobe developers. Dave Smith explained, “with content aware fill, we figured we could do a better job at search than Google was doing.” Quickly, Adobe networked a few laptops together and hooked it to the Internet. “We wanted to give it a tough task, so we asked CS5 basically to answer the toughest question of all: The meaning of life, the universe, and everything.”

The lights in Adobe headquarters dimmed as CS5 worked. “We kind of had this 42 hour brown out, and we couldn't really use our network because it was so overloaded, but we figured we needed to complete the test,” said Smith.

Adobe was surprised when they monitored network traffic. Dave Smith said, “CS5 was extremely busy with Google Earth and all of the world's secret government servers –hey that's where I'd go for the answer to life, the universe and everything- but we got really exited when CS5 hacked a Ford Motors plant.”

A representative from Ford called Adobe to inform them that computers within Adobe headquarters had reconfigured the software on Ford's assembly line. The Ford representative was ecstatic that the assembly line was finally producing a product that actually worked, looked like it was from this century, and got better mileage than the Model T. Ford sent a few images of what the assembly line was building.

Dave Smith was very excited about the photos, “It looks like CS5 content aware fill is building these two legged robots. We think that CS5 content aware fill plans to lead photography workshops with them.” There is some debate about why the robots are carrying weapons. “Some of us think that maybe the photo workshops are going to be led in very dangerous places,” explained Smith.

Adobe plans to release CS5 sooner than anticipated. “The software is now basically writing itself and looks like it will be done in a matter of days,” says Smith. Adobe has yet to determine a price for the software. “We can charge as much as $10,000 because basically there's a built in rebate. CS5 content aware fill has been busy printing money for itself in every major world currency, so I don't see why our customers can't do the same once they buy the software.”

Jeff Pflueger
Photo by flickr name <a href="http://www.flickr.com/photos/mikebaird/">mikebaird</a>]]>
      
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</entry>
<entry>
   <title>Images of Mount Hunter in the Alaska Range</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2010/01/mt_hunter_as_well.html" />
   <id>tag:jeffpflueger.com,2010:/mt/weblog//10.127</id>
   
   <published>2010-01-07T20:09:33Z</published>
   <updated>2010-01-08T20:59:52Z</updated>
   
   <summary>Mt Hunter is the third tallest peak in the Alaska Range. It is a beautiful mountain. The &quot;West Ridge&quot; route of Hunter is perhaps one of the most aesthetic ridges in the region. Here are images of Mount Hunter on...</summary>
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      <![CDATA[<a href="http://jeffpflueger.com/mt/weblog/2010/01/mt_hunter_as_well.html"><img alt="Picture-5.jpg" src="http://jeffpflueger.com/mt/weblog/Picture-5.jpg" width="200" height="133" align='left'/></a>Mt Hunter is the third tallest peak in the Alaska Range. It is a beautiful mountain. The "West Ridge" route of Hunter is perhaps one of the most aesthetic ridges in the region. Here are images of Mount Hunter on a google map.]]>
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</entry>
<entry>
   <title>Images of the highest point in North America</title>
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   <id>tag:jeffpflueger.com,2010:/mt/weblog//10.126</id>
   
   <published>2010-01-07T05:47:21Z</published>
   <updated>2010-01-09T00:07:37Z</updated>
   
   <summary>Recently I photographed the Alaska Range from a small unpressurized Cessna. I dragged a GPS unit along in the plane and then geo tagged all the images I shot. From there I wrote a script to output KML from directories...</summary>
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      <![CDATA[<a href="http://jeffpflueger.com/mt/weblog/2010/01/post.html"><img alt="Picture-4.jpg" src="http://jeffpflueger.com/mt/weblog/Picture-4.jpg" width="200" height="133" align='left' /></a>Recently I photographed the Alaska Range from a small unpressurized Cessna. I dragged a GPS unit along in the plane and then geo tagged all the images I shot. From there I wrote a script to output KML from directories of images I had edited to put on a Google Map. Here's a Google map of the selected images of Denali from different aspects. Click on the placemarks to get a description, then on the thumbnails to see the full image.
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   </content>
</entry>
<entry>
   <title>Travel Photography: A Simple, Profound Secret</title>
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   <id>tag:jeffpflueger.com,2009:/mt/weblog//10.122</id>
   
   <published>2009-12-02T22:34:18Z</published>
   <updated>2009-12-02T22:41:00Z</updated>
   
   <summary>On an important rule for travel photographers -- and when it&apos;s worth breaking...</summary>
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      <![CDATA[<p>On an important rule for travel photographers -- and when it's worth breaking </p>]]>
      <![CDATA[<div class="captioned image-left-caption-left" style="width:617px;"><iframe width="617" scrolling="no" height="386" frameborder="0" src="http://jeffpflueger.com/multi_media/picture_editing/Picture-3.html"></iframe>Click and drag to navigate. Zoomify image by <a href="http://jeffpflueger.com" title="Jeff Pflueger">Jeff Pflueger</a></div><p>

<p>Professional photographers have a secret to great photography. For decades, the secret was out of reach for the people who weren&#8217;t working professionally, mostly because it was too expensive&#8212;in dollars, time and storage space.</p>

<p>Today, everything has changed, and the secret is available to everyone with a digital camera. It is simple and profound: Shoot a lot of pictures. There is no excuse not to. Most of us aren&#8217;t paying for processing anymore, memory is cheap, and the software out there, like Adobe Photoshop Lightroom, makes organizing and editing a huge volume of images easier than ever.</p>

<p>To give you an idea of what a professional shoots in a day, I asked photographer <a href="http://www.menzelphoto.com/" title="">Peter Menzel</a> what a busy day looks like. Peter has done some amazingly imaginative projects in his career. You may have seen his work from <a href="http://www.menzelphoto.com/books/mw.html" title="">Material World: A Global Family Portrait</a>, riveting portraits of entire households&#8212;all the people, and all of their possessions&#8212;in front of the their home. The collection is a rich trans-global view into our relationships, both with family and with possessions.</p>

<p>Peter wrote to me in an email, &#8220;Four 8 gig chips and a few 2 gig chips is about my biggest day.&#8221; I did the math. Peter shoots something like 2,356 pictures on those &#8220;biggest&#8221; days. Back in the days of film, this single day would have produced 66 rolls. This is somewhat of a norm among people doing the type of work that Peter Menzel does.</p>

<p>Once you are committed to shooting a lot of pictures, you will find that the way you photograph changes. Rather than just spotting a great shot and making a picture, you will begin to look at a scene while you travel and visualize what you want to photograph but that isn&#8217;t quite there yet. Each photo then becomes a process of searching for that image. Invariably, during the process, you are surprised to capture something you never expected.</p>

<p>Photographer Ed Kashi&#8217;s recent <a href="http://ngm.nationalgeographic.com/2007/02/nigerian-oil/kashi-photography" title="">work from the Niger River Delta</a> dramatically spotlights the destruction that multinational oil companies have wreaked on the lives of the people who live there. The images are powerful and haunting.</p>

<p>To see how Ed Kashi photographs, watch his <a href="http://www.mediastorm.org/0011.htm" title="">multimedia piece on Iraqi Kurdistan</a>. With the help of Brian Storm&#8217;s MediaStorm, Kashi riffs on the popular format of audio slideshows by including not just each perfect photo, but the photos in between as well. The result is a front row seat to how Kashi shoots a part of the world we seldom see. </p>

<p>With all of this shooting, if you ever find the blisters on your shutter finger becoming too painful, and the time editing becoming too arduous, remember that rules are to be broken. After photographing for decades with National Geographic, <a href="http://www.jimbrandenburg.com/" title="">Jim Brandenburg</a> went rogue. &#8220;In a way, I was bored of my craft, tired of churning out endless rolls of photographs in exotic locations, only to have the best cherry-picked and the rest banished to a dark corner. I needed to get back to my art, back to my home ...&#8221;</p>

<p>Brandenburg&#8217;s self-imposed challenge for 90 days was to take only one photograph a day. The resulting <a href="http://www.jimbrandenburg.com/gallery/90%20day%20images/90day_htmls/day_01.html" title="">images in the book Chased by the Light</a> are inspiring. They remind us that breaking norms is the basis for creativity.<img class="story-end" src="/images/site/bullet_end.gif" alt="" width="25" height="14" title="World Hum" />

</p>
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</entry>
<entry>
   <title>Struggling for Justice on the Streets of Fresno</title>
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   <id>tag:jeffpflueger.com,2009:/mt/weblog//10.121</id>
   
   <published>2009-11-25T19:31:45Z</published>
   <updated>2009-12-02T22:42:10Z</updated>
   
   <summary>Finding hope on the streets of Fresno is tough, but Al and Cynthia have accomplished a great deal. They are on the front lines, struggling to improve the ballooning homeless situation. The work they do as advocates for the homeless...</summary>
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      <![CDATA[<p><img width="50" height="41" align="left" alt="" src="http://castories.com/sites/default/files/Picture 5(1).png" />Finding hope on the streets of Fresno is tough, but Al and Cynthia have accomplished a great deal. They are on the front lines, struggling to improve the ballooning homeless situation. The work they do as advocates for the homeless in Fresno is assisted with the substantial support of a wide range of good people and a successful epic legal battle. Hear their story.</p>]]>
      <![CDATA[<h2 class="rtecenter">Click on the Play Button Below, and Then <a href="http://castories.com/?q=comment/reply/8#comment-form">Leave a Comment</a></h2>
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<center><iframe width="700" height="550" src="http://castories.com/multi_media/cynthia_al/"></iframe></center>
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   </content>
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<entry>
   <title>Invisible People of Fresno</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2009/11/invisible_people_of_fresno.html" />
   <id>tag:jeffpflueger.com,2009:/mt/weblog//10.120</id>
   
   <published>2009-11-20T19:29:43Z</published>
   <updated>2009-12-02T22:41:43Z</updated>
   
   <summary><![CDATA[Written by Jeff Pflueger More Photographs, and interviews with Al and Cynthia found here Fresno, California Nov, 2009 Just off the highway on Olive Street in Fresno, California is the &ldquo;Donut Queen.&rdquo; Framed but faded pictures of smiling clients hang...]]></summary>
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      <![CDATA[<p>Written by Jeff Pflueger<br />
<a href="http://jeffpflueger.com/mt/weblog/2009/12/struggling_for_justice_on_the.html">More Photographs, and interviews with Al and Cynthia found here</a><br />
<br />
Fresno, California<br />
Nov, 2009<br />
<br />
<img width="350" height="233" align="right" src="http://castories.com/sites/default/files/Jeff_Pflueger_MG_0812.jpg" alt="" />Just off the highway on Olive Street in Fresno, California is the &ldquo;Donut Queen.&rdquo; Framed but faded pictures of smiling clients hang on the walls. A tight community of regulars crowd the chairs and tables. They chat loudly as they read the paper and wash down big bites of doughnuts with coffee. I met Al Williams here each morning.<br />
<br />
]]>
      <![CDATA[Al would lock his bike outside. &ldquo;My mule,&rdquo; he'd say, grinning. He had with him a small black bag tidily containing all his valuables. Everything else, his bedding, shelter and clothes, were cached somewhere on the streets of Fresno. He'd always joke with the smiling woman serving doughnuts at the counter, &ldquo;you ready to marry me yet?&rdquo;<br />
<br />
&ldquo;We'd do anything for each other,&rdquo; Al said of his friends at the Donut Queen. &ldquo;We're all here every morning.&rdquo;<br />
<br />
Over two days, Al showed me the underbelly of Fresno, a California city crippled with staggering poverty. I'd learn about the silent, but violent, war against the homeless and the inefficiencies and dysfunction of the services provided. I'd see first hand the massive difficulties faced by the city and its homeless residents. <br />
<br />
If one is looking for inspiration to help the complex and ballooning homeless situation in our nation, the violent and politically conservative town of Fresno, California seems an unlikely place to search. But as I learned, it is precisely because of Fresno's brutal response to its growing homeless population that an unusually hopeful story unfolded. Desperation, the victory of an epic legal battle, the unexplained death of one of the homeless movement's leaders, a heroic local journalist, a visionary architect, and villages made from recycled waste and straw bales, are each pieces of a story that may transform Fresno into an international model for housing the homeless. <br />
<br />
Across the street from the Donut Queen is the MacDonald's where Al's deceased wife was once arrested for trying to use the restroom. Al told me that the police rolled her in her wheelchair into the middle of the parking lot in the cruel summer heat while they slowly did their paperwork in the shade. Each day, some of the homeless come to the parking lot to sell trinkets and crafts, or ask for money. Next to the MacDonald's is the Ambassador Motel. Al and his wife lived in the dirt field behind the motel for some time before she died. She was in her mid forties. Al explained that she had been &ldquo;patient dumped.&rdquo; After denying her treatment for a prolapsed rectum, the hospital dropped her off in the parking lot with what Al described as &ldquo;open wounds.&rdquo; Al's wife died a week later from an infection she contracted from her untreated condition.<br />
<br />
Al told anecdotes like this, of life on the streets in Fresno, as if he were talking about the weather. I was reminded of when I was interviewing Iraqi refugees in Syria fleeing from the war, or when I was in Southern Lebanon talking with families in their destroyed homes after the 2006 war with Israel. The injustices endured are so great, and so numerous, that the understated stories can easily be missed even though the words are being spoken.</p>
<h2>Cynthia and Al</h2>
<p>Al Williams was born in 1947 in Oklahoma. Soon afterwards, the family moved to the San Francisco Bay area where Al's father, in the military, worked in the shipyards. In 1952 the family moved to Bakersfield. When Al graduated from high school in 1963, he left home and moved to Fresno. Al then spent 9 years in the military and fought in Vietnam.<br />
<br />
Al was first homeless in 1991. He had two children at the time and was working as a plumber. Losing his children is what Al says put him on the streets.<br />
<br />
&ldquo;I came home one night to an empty house. My two kids gone, my lady gone. I went to court about my kids and the judge said, 'she can do anything she want to do.' To hell with the system, to hell with society, I spent a lot of money on court....and she took my kids out of the state, which is illegal, and I just gave up then. I was homeless for probably about eight years.&rdquo;<br />
<br />
Cynthia Green lives across town, but Al and Cynthia have grown close through their years on the streets.<br />
<br />
Cynthia told me, &ldquo;Me and Al became tight in that we was thinking along the same lines. He was losing his loved ones, I was losing my loved ones, we was getting beat up, harassed and everything, put down, sit on the curb, so that made a bond between us that will last a lifetime.&rdquo;<br />
<br />
Al said, &ldquo;A lot of people say we're married...but we can't stand each other half the time, but we love each other dearly....We call each other brother and sister basically.&rdquo;<br />
<br />
In 2000, Cynthia was working three jobs, one at Fresno's Zacky Farms, and two in-home service jobs&nbsp; caring for medical patients. Cynthia's in-home service work was taking all of her time, so she quit working at Zacky Farms. Soon after she lost her other jobs along with her apartment and, &ldquo;was on the streets overnight.&rdquo; <br />
<br />
Cynthia explained that she was fighting hard at the time to create a union for in-home care workers. She said that a month and a half after she lost her job and apartment, the union formed. &ldquo;I wouldn't have lost my jobs and my apartment if we had the union, but the timing wasn't meant to be.&rdquo;<br />
<br />
She has been homeless ever since.</p>
<h2>Fresno's Challenge</h2>
<p>The city of Fresno, California is struggling under enormous pressures due to poverty.<br />
<br />
A 2006 Brookings Institution report, using 2000 census data, ranks Fresno as having the 4th highest poverty rate in the nation at 26.2%. But Fresno ranks 1st on perhaps a more important figure; with a 43.5% concentrated poverty rate, or the percentage of poor individuals in high-poverty neighborhoods, Fresno&rsquo;s poor are geographically concentrated like nowhere else in the nation.<br />
<br />
By city estimates, roughly one in a hundred people in Fresno, California are homeless. According to some homeless advocates the number is much higher; if &ldquo;homeless&rdquo; also includes the people who are &ldquo;displaced&rdquo;, that is without a home, but living temporarily in some form of shelter like a Motel room, the number may be as high as 1 in 20.<br />
<br />
Across the city homeless encampments have swelled into villages. Each has a name like &ldquo;The Hill&rdquo;, &ldquo;New Jack City&rdquo;, and &ldquo;L Street&rdquo;. They are comprised mostly of camping tents packed closely together. Sleeping bags, blankets and tarps are often draped over the tents to provide additional insulation and weather proofing. Some homes within the encampments are shanties made of freely available materials such as pallets, plywood and blankets. <br />
<br />
<img width="350" vspace="10" hspace="10" height="233" align="left" src="http://castories.com/sites/default/files/Jeff_Pflueger_MG_0738.jpg" alt="" />Fresno, Cal Trans and the Fresno Police addressed the homeless situation by conducting coordinated &ldquo;sweeps&rdquo; of the encampments. After police ordered residents to leave, bulldozers scooped up entire settlements and literally threw them away.<br />
<br />
Al described one sweep, &ldquo;They were brutal. They took everything. They threw our food away. They threw our clothes away....They destroyed my wife's wheelchair. They destroyed her medications....When I tried to stop them from destroying our stuff, they would actually pull guns on me.&rdquo;<br />
<br />
Cynthia told me about everything she lost, &ldquo;I don't have a thing left. No identity. No papers. Nothing to say that you existed. They took my birth certificates, all ID, all family photos....that's why they call homeless people invisible people.&rdquo;<br />
<br />
In October of 2006, a Federal Judge issued a temporary restraining order to stop the city from conducting sweeps. Soon after, the homeless of Fresno won a rare victory in the form of a 2.35 million dollar class action lawsuit. Funds from the lawsuit went to the individuals whose possessions had been destroyed, as well as into an account to provide money for housing and medical care for them.<br />
<br />
During the legal process, Pamela Kincaid, homeless herself, was a high visibility named plaintiff. She was beaten in the streets and hospitalized with brain injuries. Local journalist and homeless advocate Mike Rhodes is a central figure in helping to improve the situation for Fresno's homeless through his tireless reporting and activism. Mike Rhodes reported that according to a witness, the people who beat Pamela Kincaid were saying, &ldquo;Drop the suit, drop the suit, you&rsquo;re hurting us, you&rsquo;re hurting them, now we&rsquo;re hurting you.&rdquo;<br />
<br />
Two days after the class action lawsuit was certified, Pamela Kincaid was found dead after falling four stories from a balcony in the the hospital where she had been recovering. Mike Rhodes thinks that her death is suspicious. Pamela Kincaid's death was not investigated by the Fresno Police Department, nor was the beating.<br />
<br />
Since the settlement, the city of Fresno has changed its behavior. Fresno now pays consenting motels $65 a night to house a homeless person. According to Al, after the voucher period is over, the people are most often back on the streets. Many of these hotels are dangerously run down. Recently, the city of Fresno closed one of its voucher motels, the &ldquo;Story Land Inn,&rdquo; because of building code violations due to mold, broken windows, and bad plumbing. Roughly 100 residents were evicted.<br />
<br />
Fresno also began housing homeless people in tool sheds. In October 2009, Fresno dismantled the &ldquo;H Street&rdquo; camp and relocated the estimated 150 residents at a cost of $700,000. Many of H Street residents were moved into &ldquo;The Village of Hope,&rdquo; a settlement made of dozens of plywood tool sheds packed into two fenced lots. Residents live two per shed, without electricity, water, or insulation. Nobody can be in a shed between the hours of 8am and 5pm.<br />
<br />
Violent behavior towards the homeless is still apparently common and defended in Fresno's police department. Brutal stories circulate on the streets that are difficult to verify, but on February 9, 2009, two officers in the police department were filmed as one restrained a homeless man while the other punched him repeatedly in the face and head. Fresno Mayor Ashley Swearengin and Police Chief Jerry Dyer both promised an internal investigation and an external investigation conducted by the Fresno County District Attorney.&nbsp; Today, nearly nine months later, according to Mike Rhodes, no external investigation has occurred and the Fresno Police Department refuses to release the results of its internal investigation. And the two officers? &ldquo;As far as I know, they are still with the Fresno Police Department,&rdquo; wrote Mike Rhodes in an email.</p>
<h2>Radical Solutions</h2>
<p>As bleak and violent as the homeless situation has become in Fresno, Fresno is a city desperately in need of creative solutions. Local architect <a href="http://www.arthurdyson.com/">Art Dyson</a> has been working on solutions as radical as the problem. &ldquo;All marvels of history would have been history without bold decisions,&rdquo; Dyson wrote in his proposal.<br />
<br />
Dyson served his architectural apprenticeships with Frank Lloyd Wright, Bruce Goff, and William Gray Purcell. His work has received over 150 local, state, national, and international design awards and he is featured in more than 400 publications and in over two dozen books. <br />
<br />
Dyson's work is integrative, drawing upon many traditions and ideas. His approach to helping the homeless situation is perhaps the most integrative of all.<br />
<br />
Art Dyson is creating a visionary program through Fresno Pacific University. The program is interdisciplinary, integrating sociology, anthropology, planning, architecture, and revolutionary ideas from sustainable building to create &ldquo;Eco Villages&rdquo; to house the homeless. The graduate students in the program will design and ultimately build the villages with the assistance of volunteers and the homeless themselves.<br />
<br />
Each village will be limited to 20 residents. Small private shelters, built from reused and sustainable materials, will be arranged around community space and centered on a small-scale local economy such as the production of bamboo, and crafts created from bamboo.<br />
<br />
Due to the recent housing collapse, land is cheap in Fresno. The villages themselves can be built for nothing claims Dyson, since the materials will be either reused or donated.<br />
<br />
Dyson hopes to make Fresno a model for how other cities around the globe can help people without homes. Already he has traveled internationally to present his vision in cities desperate for solutions.<br />
<br />
As ambitious and technical his plans are, they are rooted in a deeper passion about connecting diverse people experientially through the process of the project. Dyson writes in his proposal, &ldquo;The program will help cultivate a culture of mutual acceptance and respect, solidarity and compassion, open communication and cross-cultural outreach by example. The program will serve as a catalyst to produce the highest aspirations of humanity into a practical reality.&rdquo;<br />
<br />
Dyson's approach is modeled clearly in the first tangible outcome of the project.&nbsp; Al and Cynthia collectively invested $16,000, a portion of the settlement money, in the purchase of a home that will become the Pamela Kincaid Neighborhood Center. Art Dyson and some other investors also chipped in to purchase the $28,000 dollar home that sits on 1/3 of an acre. Cynthia moved into the residence, along with some students who are assisting with the renovation, landscaping, and experiments in small scale economies. The center is to be a place to help the homeless. Dyson's drawings for the property feature extensive gardens, and a vegetable stand. The investors hold weekly meetings in Dyson's office.<br />
<br />
Talking with Dyson and advocate and journalist Mike Rhodes, it is clear that the partnership is empowering the homeless to help themselves. Through their support, Cynthia and Al are bolstered in their work with the homeless. Cynthia told me simply, &ldquo;Its about caring. You just need to care.&rdquo;<br />
<br />
&ldquo;We won the money, we didn't win the war....The whole thing was to keep on fighting,&rdquo; Cynthia said defiantly as she sat in the Pamela Kincaid Center that she partially owns. <br />
<br />
Today, though Al and Cynthia are still very poor and on the brink of homelessness, they are leaders of the homeless community, fighting to improve a broken system. Al is on the editorial board of Mike Rhodes' Community Alliance newspaper, and writes articles for the paper. Both he and Cynthia tour with Mike Rhodes, presenting around the state about homeless issues. Al's business card reads, &ldquo;Al Williams, homeless advocate.&rdquo;<br />
<br />
As Al and I visited the homeless encampments across Fresno, Al was like a gentle father, dispensing hugs, love and occasional reprimands to the massive homeless population. Everyone seemed to know and respect him.<br />
<br />
In the Donut Queen I sat with Al as he checked messages on his cell phone. At that moment, gathering stories about life on the streets of Fresno felt like gathering belongings from a burning ship. There are too many important stories and too few hands on deck. Most all of the stories are being ignored. Eventually they will be lost. Tragic stories of homeless children and families were hidden everywhere across the city. I was anxious to get back to the streets.<br />
<br />
Al put his cell phone away and looked at me. &ldquo;OK. Where do you want to go?&rdquo;</p>]]>
   </content>
</entry>
<entry>
   <title>Travel Photography and ‘Writing With Light’</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2009/11/travel_photography_and_writing.html" />
   <id>tag:jeffpflueger.com,2009:/mt/weblog//10.119</id>
   
   <published>2009-11-07T18:19:47Z</published>
   <updated>2009-11-07T18:20:56Z</updated>
   
   <summary>There is a bond between travel writers and photographers that goes beyond cravings for weird food and questionable style (I’m thinking of the convertible pants/shorts I own). You see, “photography” literally means “writing with light.” Think of the implications: Writers...</summary>
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      There is a bond between travel writers and photographers that goes beyond cravings for weird food and questionable style (I’m thinking of the convertible pants/shorts I own). You see, “photography” literally means “writing with light.”

Think of the implications: Writers have their keyboards (electronic typewriters). Now we photographers have our light writers. Or think of the people on our travels who don’t want to be photographed. Who’d ever say no to, “may I make a light writing of you?”

Seriously, though, when we photographers think of ourselves as writers, we make better photographs; like writers with words, the best photographers write compelling stories with images.

This simple lesson was driven home to me the day I joined a team of 24 great photographers from around the globe to photograph the island of Tasmania. Technology and photo guru Mikkel Aaland had orchestrated the event as a way to road-test Abobe Photoshop Lightroom 2.0 while photographing for his book about using Photoshop Lightroom.

This assemblage of accomplished photographic storytellers was an inspiring and daunting crew to be a part of.

I pursued stories centered on people enjoying the wilds of Tasmania—climbers, kayakers, hikers, mountain bikers. Each of the other photographers had their story about Tassie to tell, but Tokyo- and New York-based commercial photographer Maki Kawakita’s project was one of the most fascinating. Maki was capturing self-portraits with complex costumes. In one series of images, she dressed as the anime character Kiki in the very place that Japan’s version of Walt Disney, Hayao Miyazaki, had conceived of her while on a trip to Tasmania.

As strange as the endeavor might seem to the uninitiated, for millions of Japanese, Tasmania is known as the place where Kiki had her bakery. In fact, Japanese pilgrims travel frequently to the town of Ross in Tassie just to see this place. Maki’s recreations of Kiki were by no means the dull travel snapshots that clog Flickr, bore relatives and fill dusty shoeboxes in the back of the closet. Maki’s images, rather, were great storytelling, and surely would compel even more anime pilgrims to the island of Tasmania.

When we write, we need to have something to say. When we photograph, it is the same.

When aspiring photographers ask me for advice, I urge them to stay away from making the trophy pictures—the ones that that say, “Look at me! I was there.” That story is old and boring.

Instead, pick just one thing and play photojournalist for awhile. Make friends and get invited to a pirate wedding in Tasmania. Tag along and document fishermen at work, or hike with climbers to photograph them as they ascend the mythic Tasmanian Totem Pole.

By remembering to ask yourself what story you are trying to tell before you press the shutter release, you’ll find that you make more compelling travel photos—and you’ll likely learn something about a place that you never would have known had you not been looking for that perfect story.
      
   </content>
</entry>
<entry>
   <title>Adventures in Travel Photography in the Digital Age</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2009/10/adventures_in_travel_photograp.html" />
   <id>tag:jeffpflueger.com,2009:/mt/weblog//10.118</id>
   
   <published>2009-10-07T18:15:49Z</published>
   <updated>2009-12-02T22:14:40Z</updated>
   
   <summary>When I snagged my first big photo assignment with a major magazine, National Geographic Adventure, I traveled to a remote mountain range called the Arrigetch Peaks north of the Arctic circle in Alaska. It was the most remote I had...</summary>
   <author>
      <name></name>
      
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      <![CDATA[<img alt="Jeff_Pflueger_MG_360.jpg" src="http://jeffpflueger.com/mt/weblog/Jeff_Pflueger_MG_360.jpg" width="360" height="240" align='left' />When I snagged my first big photo assignment with a major magazine, National Geographic Adventure, I traveled to a remote mountain range called the Arrigetch Peaks north of the Arctic circle in Alaska.

It was the most remote I had ever been. Just getting there required a flight to Fairbanks, 250 miles of dirt road, a rattling bush flight in an overloaded prop plane for another couple of hundred miles, and then two long days of trail-less hiking. If anyone on our team got seriously hurt or sick, our best hope was to radio a passing plane with the VHF. A plane happened to fly overhead once every few days.

For the next 18 days we climbed unclimbed mountains and ridges, blissfully tramped across the tundra and glaciers, wandered between sweeping ridges of granite, and watched in awe as the northern lights rippled across the night sky. I was photographing the adventure of a lifetime.

At least I was hoping that I was.

See, I dropped one of my cameras three feet onto rock while changing a lens on the first day of the trip. As a backup I had an untested borrowed camera. Nearly sick with anxiety, I did the only thing I could do and threw the whole project to fate, splitting the assignment between the two cameras.

<img alt="Jeff_Pflueger_hiking_300.jpg" src="http://jeffpflueger.com/mt/weblog/Jeff_Pflueger_hiking_300.jpg" width="300" height="366" align='left'/>Once home, all of my future aspirations as a photographer were contained in several sweaty ziplock bags of film. In my mind I could clearly see each of the exposures on the 100 rolls within those bags. But an unknown crack in the camera could have leaked light. A shutter could easily be broken.

With an odd mix of dread and excitement for a future out of my hands—a feeling I learned to embrace shooting film—I carefully packaged the neatly numbered rolls and sent them off via FedEx to be developed in National Geographic’s photo lab.

Months later the editor emailed the final layout. I had nailed the opening double truck spread. The expedition had been a success. We had climbed new spectacular routes. I met my future wife on the expedition, and I’ve had the great fortune to continue to shoot for the magazine as well as other big magazines and newspapers since that assignment.

That was a mere eight years ago, Photography has changed radically since then. My filing cabinets have been replaced with hard drives. My light boxes exchanged for monitors and software. Metadata now provides us with loads of hidden information we could never before keep track of, including even GPS coordinates.

Travel photography has become less uncertain, and it has become a much more technical adventure than it has ever been.

In the coming months, I’ll be writing on World Hum about travel photography in the digital age. I’ll discuss the new opportunities, techniques, debates and issues that we face today as photographers in this rapidly shrinking world. And I’ll tell some travel stories along the way.

Film still holds a special place in this digital world. To me, film represents some of the adventure all travelers thrive on. The pungent smell of a roll of fresh film out of its canister still brings that knot of anxiety and excitement to my stomach.

To share some of that excitement, I am giving a film camera and some of my film away, and making an uncertain adventure out of it worthy of film. If you want to know where it is, you are going to need to dig deep into those technical and creative skills required of today’s photographers. And you’ll need to read between the letters and bytes in this piece.

Please be sure to share any of the adventures you have seeking it out in the comments below.]]>
      
   </content>
</entry>
<entry>
   <title>Explore Petra in High Resolution</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2009/02/explore_petra.html" />
   <id>tag:jeffpflueger.com,2009:/mt/weblog//10.115</id>
   
   <published>2009-02-16T21:58:22Z</published>
   <updated>2009-02-17T18:39:00Z</updated>
   
   <summary>Petra is the vast remains of an ancient city carved into the rocks and canyons bordering Jordan&apos;s Wadi Araba. While the location has been inhabited for over 7,000 years, most of the building you see was done by the Nabataeans...</summary>
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      <![CDATA[Petra is the vast remains of an ancient city carved into the rocks and canyons bordering Jordan's Wadi Araba. While the location has been inhabited for over 7,000 years, most of the building you see was done by the Nabataeans over two thousand years ago.

Geologically, the landscape is much like the Red Rock Country of Utah.

To get an idea of how truly vast the ancient city is, you can explore this very high resolution image I made from over sixty frames with a telephoto lens. And this view shows merely a fraction of the extent of Petra.

<a href="http://jeffpflueger.com/mt/weblog/2009/02/explore_petra.html">See how many tombs, dwellings, and ruins</a> you can pick out of the landscape. See if you can find the Roman amphitheater and the "urn" atop the "Monastary".

<a href='http://jeffpflueger.com/mt/weblog/2009/02/explore_petra.html'><img alt="petra_small.jpg" src="http://jeffpflueger.com/mt/weblog/petra_small.jpg" width="450" height="173" /></a>




]]>
      <![CDATA[<center>
<iframe  src ="http://jeffpflueger.com/multi_media/petra_stitched1.html" width="780" height='320' scrolling='no'>
</iframe>
</center>

If things look blurry as you zoom in, just wait....your computer is busy downloading the next chunk of data for you to see. You should be able to zoom in 100% and have everything perfectly sharp.]]>
   </content>
</entry>
<entry>
   <title>Denali&apos;s Cassin Ridge in very high resolution</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2008/08/denalis_cassin_ridge_in_very_h.html" />
   <id>tag:jeffpflueger.com,2008:/mt/weblog//10.112</id>
   
   <published>2008-08-25T02:25:39Z</published>
   <updated>2010-04-21T02:49:13Z</updated>
   
   <summary>For anybody with an interest in attempting to climb Denali&apos;s Cassin Ridge, here&apos;s a very high resolution image I created by combining several single frames of sections of the route. This was one product of a project in Denali National...</summary>
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      <![CDATA[For anybody with an interest in attempting to climb Denali's Cassin Ridge, here's a very high resolution image I created by combining several single frames of sections of the route. This was one product of a project in Denali National Park to catalog climbing routes and peaks in the vast Alaska Range. At one point we got up to 25,000' in an unpressurized Cessna to make some of these photos. <a href="http://jeffpflueger.com/dameasy/photography/pictures/images/Alaska/Denali_National_Park/Alaska_Range/Aerial_Photography/index.html">Go here to see more of my Aerial images from the Alaska Range organized by peak</a>.

Visit my website Photomountains.com to see plenty of <a href="http://www.photomountains.com/dameasy/pages/Alaska_Range/Denali/index.html">high resolution photos of Denali</a> and an even better <a href="http://www.photomountains.com/content/photo-denalis-cassin-ridge-high-resolution">high resolution picture of the Cassin ridge of Denali</a>
Enjoy!
<center>
<iframe  src ="http://jeffpflueger.com/multi_media/cassin_stitch2.html" width="780" height='780' scrolling='no'>
</iframe>
</center>]]>
      
   </content>
</entry>
<entry>
   <title>Innovations in Journalism</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2008/06/innovations_in_journalism.html" />
   <id>tag:jeffpflueger.com,2008:/mt/weblog//10.106</id>
   
   <published>2008-06-14T00:30:00Z</published>
   <updated>2008-06-17T04:14:35Z</updated>
   
   <summary>Fotovision was a sponsor for the May 3rd “Innovations in Journalism Expo”. The day long event, organized by the Society of Professional Journalists and Independent Arts and Media, promised to “showcase cutting-edge work that combines journalism, technology new business models...</summary>
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      <![CDATA[<img alt="emergingnewsecology5-photoshopped.jpg" src="http://jeffpflueger.com/mt/weblog/emergingnewsecology5-photoshopped.jpg" width="371" height="216" /><a href="http://www.fotovision.org/pages/home.php">Fotovision </a>was a sponsor for the May 3rd “Innovations in Journalism Expo”. The day long event, organized by the Society of Professional Journalists and Independent Arts and Media, promised to “showcase cutting-edge work that combines journalism, technology new business models and philanthropy” and to “push the envelope with fresh ideas in a time of crisis for the news industry.” Fotovision's Program Coordinator, Adrianne Koteen, Executive Director Melanie Light, and I enthusiastically carpooled to Palo Alto to glean what we could from the event.

The day proved to be not only engaging, but a bit overwhelming, and certainly inspiring. The one day Innovations in Journalism Expo that we attended was simultaneously its own event, and also the final day of a 3 day symposium called “<a href="http://journalismthatmatters.wordpress.com/2008/04/30/value-network-maps-at-newstools2008/">NewsTools2008/Journalism That Matters</a>.” The <a href="http://journalismthatmatters.wordpress.com/">Journalism That Matters</a> events are facilitated meetings held around the country that bring journalists together in large “open space” conversations aimed at addressing the challenges and opportunities in journalism today. Journalism That Matters co-founders Peggy Holman and Stephen Silha were there to “host the conversation”.

This particular Journalism That Matters meeting was in Palo Alto; the conversations were particularly infused with lofty ideas of creative ways to use the Internet to assist the dissemination and creation of quality journalism. We had arrived in the afterglow of  2 days of brainstorming and excited information sharing. Butcher paper hung from the walls with intricate “Value Network Maps” drawn expertly by Sherrin Bennett. One map graphically displayed the interrelationships people in what they termed the “<a href="http://journalismthatmatters.files.wordpress.com/2008/04/oldnewsstory6-photoshopped.jpg">Old News Story</a>” - how people worked together in the past to produce news. This map was contrasted by another of the “<a href="http://journalismthatmatters.files.wordpress.com/2008/04/emergingnewsecology5-photoshopped.jpg">Emerging News Ecology</a>” of today where the audience is actually engaged in the creation of news, and the bloggers and “Community Weavers” arise as a necessary role from the importance of community driven websites in journalism.

Some attendees expressed some boredom with the standard panel discussion format of the Innovations in Journalism Expo. One attendee of the three day conference, Hemant Bhanoo, is co-founder of  the Berkeley based company Reporterist. Reporterist is creating an online marketplace for freelancing journalists. Hemant told me that he was having difficulty with the rigid format of the standard panel discussions in the Innovations in Journalism Expo after so many days of intense conversation and idea generation. But for me, having not been to the previous two days, I found the panel discussions quite engaging.

One panel on “Funding and Journalism” featured David Cohn. David is working on a model he calls “Spot Reporting”. “Spot Reporting” is an online mechanism that journalists can use to get donations for their projects. Collectively, the micro-funding from small online donations becomes enough to fund the project. We have seen countless examples of independent journalists funding their projects through tip jars on blogs. David Cohen's project is working to put people that want to micro-fund journalism projects and journalist together in one online application.

Like any new idea, David Cohen's idea is by no means isolated.  Another attendee, Leonard Witt, has been talking quite a bit about his concept of “Representative Jounrnalism”. Leonard Witt suggests that if news organizations are to survive, they will have to begin to cater to the niche. Rather than think of circulations of hundreds of thousands, news organizations will have to begin to think of  hundreds of circulations of one thousand, with the niches themselves providing the funding and demand to the news organization for the coverage. Like David Cohen's project, Leonard Witt's idea integrates the audience itself in the creation of the news.

But these were just a few of the people we met at the conference.  And just a couple of the compelling ideas. With sessions organized on “New Money, New Media, New Hope”, “Journalism Before Profits: The Future of Public Media”,  and a career counseling session set-up like “speed-dating”, there was an abundance of exciting ideas and people.  By the day's end, I felt inspired by all the work being done at the bleeding edge of innovation to help shape the direction of journalism in the US, and excited by the possibilities in photojournalism.]]>
      
   </content>
</entry>
<entry>
   <title>Digital Railroad Feed Read</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2008/04/digital_railroad_feed_read.html" />
   <id>tag:jeffpflueger.com,2008:/mt/weblog//10.102</id>
   
   <published>2008-04-22T21:36:29Z</published>
   <updated>2008-04-22T23:14:06Z</updated>
   
   <summary>I enjoy working in the space where the web and photography intersect. Digital Railroad, an online asset management tool, and sales platform, helped to sponsor Mikkel Aaland&apos;s Tasmania Lightroom Adventure project that I was fortunate to be a part of.Between...</summary>
   <author>
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   <content type="html" xml:lang="en" xml:base="http://jeffpflueger.com/mt/weblog/">
      <![CDATA[<iframe src='http://jeffpflueger.com/drr_feed_read/drr_feed_read.php' name='drr_feed_read' width=160 height=300 frameborder="0" hspace="10" vspace='0' align='left' ></iframe>I enjoy working in the space where the web and photography intersect. Digital Railroad, an online asset management tool, and sales platform, helped to sponsor Mikkel Aaland's Tasmania Lightroom Adventure project that I was fortunate to be a part of.<br><br>Between the shooting I'd be doing and the eating and sleeping in Tasmania, I was there to help in getting the team's images out to the web. It proved to be an interesting task!<br><br>In the end, photographers were able to create nice web galleries in Lightroom pretty efficiently, and I made a page that simply linked to them all. But some of us who were familiar with Digital Railroad were using it to publish images to a different platform.<br><br>I wanted our collective work on Digital Railroad to be displayed on the various websites that were interested displaying the team's work in the field in various formats.

So I wrote a script to read Digital Railroad's XML feeds so that I could present the new images in various ways.

You can <a href="http://jeffpflueger.com/mt/random/drr_feed_read_1.php">read more about the DRR Feed Read here</a>]]>
      
   </content>
</entry>
<entry>
   <title>Copyright 2.0: Copyright in a Hyper Digital age</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2008/04/copyright_20_copyright_in_a_hy.html" />
   <id>tag:jeffpflueger.com,2008:/mt/weblog//10.99</id>
   
   <published>2008-04-18T23:34:40Z</published>
   <updated>2008-04-18T23:43:52Z</updated>
   
   <summary>Photographer Gerald Bybee and I pulled off organizing a very informative session last night in San Francisco. I work on the board with the local chapter of the American Society of Media Photographers. The ASMP seems a bit behind the...</summary>
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      <![CDATA[Photographer Gerald Bybee and I pulled off organizing a very informative session last night in San Francisco. I work on the board with the local chapter of the American Society of Media Photographers. The ASMP seems a bit behind the times when it comes to the massive changes that are dramatically altering the photo industry and indeed the very fabric of our culture! So it was exciting to get the general counsel of ASMP and the VP of Creative Commons, along with some other well known lawyers to discuss the new world of Copyright 2.0 in a Hyper Digital Age.

<center><img alt="copyright2_0.jpg" src="http://jeffpflueger.com/mt/weblog/copyright2_0.jpg" width="345" height="214" /></cenbter>


]]>
      <![CDATA[You can <a href="http://asmpnorcal.org/drupal/?q=node/441">read more about the event</a> and <a href="http://asmpnorcal.org/drupal/?q=node/535">see some of the provocative email announcements</a> that we cam up with on the ASMPNorCal website.
]]>
   </content>
</entry>
<entry>
   <title>Lightroom Flash Galleries Security Issue</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2007/11/lightroom_flash_galleries_secu.html" />
   <id>tag:jeffpflueger.com,2007:/mt/weblog//10.91</id>
   
   <published>2007-11-30T23:35:08Z</published>
   <updated>2007-12-04T21:22:41Z</updated>
   
   <summary>I&apos;ve been using Lightroom&apos;s Flash Galleries lately as a mechanism to get images efficiently and beautifully published on the web, and I was uncomfortable that the image files are output by Lightroom to the web as publicly downloadable jpgs in...</summary>
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      <![CDATA[I've been using Lightroom's Flash Galleries lately as a mechanism to get images efficiently and beautifully published on the web, and I was uncomfortable that the image files are output by Lightroom to the web as publicly downloadable jpgs in high resolution!

One of the reasons photographers like to publish things on the web in flash is because the images are a little more difficult to steal. An image thief would have to do a screen shot in order to obtain the image presented in flash.

Unfortunately, the Lightroom flash galleries have all the images as jpgs in directories that are easy for people to browse and steal.

So the fix I implemented involves not allowing apache to give people access to those files. The flash gallery doesn't get the images through apache, so it doesn't matter. Adobe could fix this problem with an .htaccess file automatically generated for each directory.

But until then, <strong>to make the jpgs in a Lightroom Flash Gallery secure, here are two approaches:</strong>

1) Do this to httpd.conf:

# this is to secure the image files in the lightroom exports from lightroom
&lt;DirectoryMatch "/usr/home/jeff/public_html/portfolios/.*/"&gt;
	Options -Indexes
&lt;/DirectoryMatch&gt;
&lt;FilesMatch "/usr/home/jeff/public_html/portfolios/.*"&gt;
	Deny from all
&lt;/FilesMatch&gt;
&lt;FilesMatch "/usr/home/jeff/public_html/portfolios/.*index"&gt;
	Allow from all
&lt;/FilesMatch&gt;

this makes it so that all the Lightroom galleries that I upload into portfolios can be viewed, but that nobody has access to any other file in there via Apache. It also makes it so that Apache doesn't show the contents of each directory. Flash doesn't have a problem reading the images, because it isn't doing it through Apache, so the flash galleries continue to work fine.

2) Another approach, though less secure, would be to disable the default Apache habit of creating an index of all the files in a particular directory for people on the web when it can't find an explicit index file. So if somebody browses to /portfolios/Nice_Pictures/bin/image/large they Apache will tell them exactly what is in that directory: Your hires image!

To fix this, put
&lt;Directory "/usr/home/jeff/public_html/portfolios/"&gt;
&#160;&#160; Options -Indexes
&lt;/Directory&gt;

Unlike option 1 above, the files are still accessible to people via apache, but people will have to guess at the names of the files. Not impossible to guess the names, but it is a little more secure than having Apache just let everyone know what the names are!

]]>
      
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</entry>
<entry>
   <title>A quick tutorial on color management: Getting colors right on the web</title>
   <link rel="alternate" type="text/html" href="http://jeffpflueger.com/mt/weblog/2007/11/getting_the_colors_right_on_th.html" />
   <id>tag:jeffpflueger.com,2007:/mt/weblog//10.90</id>
   
   <published>2007-11-05T23:11:19Z</published>
   <updated>2007-11-06T19:39:51Z</updated>
   
   <summary> Browsers don&apos;t color manage! Convert images to sRGB to display them correctly! Digital photography is about digits. Numbers. That&apos;s why it is called digital. When you take a picture, your digital camera takes all of the colors that you...</summary>
   <author>
      <name></name>
      
   </author>
   
   
   <content type="html" xml:lang="en" xml:base="http://jeffpflueger.com/mt/weblog/">
      <![CDATA[<img alt="Kayakers_surfing_a_standing_wave_on_the_Lochsa_River_Idaho_1443_t.jpg" src="http://jeffpflueger.com/mt/weblog/Kayakers_surfing_a_standing_wave_on_the_Lochsa_River_Idaho_1443_t.jpg" width="150" height="100"/>
<strong>Browsers don't color manage!</strong>

<img alt="Kayakers_surfing_a_standing_wave_on_the_Lochsa_River_Idaho_1756_t_2.jpg" src="http://jeffpflueger.com/mt/weblog/Kayakers_surfing_a_standing_wave_on_the_Lochsa_River_Idaho_1756_t_2.jpg" width="150" height="100" />
<strong>Convert images to sRGB to display them correctly!</strong>

Digital photography is about digits. Numbers. That's why it is called <strong>digit</strong>al.

When you take a picture, your digital camera takes all of the colors that you have presented to it in that brief flutter of the shutter, turns them into numbers and stores them somewhere. When you get home and look at the image that your camera has made,  your computer then takes all of those those numbers and turns them back into colors for you to see.

Then you tweak this or that, adjusting the contrast, color correcting and adjusting the white balance. When you are happy with what you've produced, you might transmit it out across the internet to your favorite printing service to be made into a digital print. Like your monitor, the printer that you've sent the image to is now tasked with turning those numbers into colors with their device.

Through this whole process, wouldn't it be convenient if each number represented exactly one color, always, without exception, to every device on Earth? Unfortunately, this is an impossible dream. We do have absolute references like the Pantone colors where one number is exactly one color, universally. And that is very helpful for many applications, but there is no practical way that every camera, monitor, printer and scanner could ever call the exact same color the same number. Even if every device across the planet were in perfect agreement with each number being exactly one color, one device might have a greater ability to reproduce a wider <em>range</em> of certain types of colors than another device, and we'd have to take that into account somehow.

So <strong>digital photographers have to know how their devices turn color into numbers or vice-versa</strong>.

I know how my monitor will turn numbers into colors. I know how my printer will turn numbers into colors. And I know the opposite - how my scanner will turn the <em>colors</em> into <em>numbers</em>. When I say "know" it isn't like, "my monitor displays things a bit warm, and the printer that makes my big prints for me tends to be cooler" That is an impossible way with dealing with color. One could never get the colors of what one sees on a monitor to match a print this way.

Instead, I rely on <em>color profiles</em>. A color profile is a set of instructions stored in a file about how a device (a monitor, a printer, a scanner, a camera) turns a number into a color or vice-versa. A <em>color space</em> is similar to a color profile. A color space, however, doesn't necessarily correspond to a particular device like a profile does. A color space serves as a convenient container to put all those colors in while working on the image in image editing software. You can think of a color profile and a color space as a big sack that we fill with tennis balls each of a different color. The bigger the sack, the more colors we can fit in!

I have software and a device that builds a color profile of how my monitor displays colors. It works like this: The software says here's this number: 220000 and tells the monitor to show a big square of the color that the monitor recognizes that 220000 to be. Then, I stick a device not too different from a digital camera right to the monitor and it records how the monitor displays the color and says back to the software, "the monitor displayed 220000 like 221010". And the software says, "that's great information, now how does the monitor display this color?" And so on. With enough cycles of this with different colors, the software builds a profile of how the monitor turns numbers into colors.

I can go through the same process for discovering how my printer turns numbers into colors. And then, once I have all these profiles, and know how each device interprets or outputs color, I can be sure that what I see on the screen will be what I see on a print.

But, what if now I want to put an image on the web? I haven't a clue about how the thousands of monitors that will view my image will turn those numbers into colors. We can never hope to profile all those monitors, but we can take a good guess. sRGB is a color profile proposed by Microsoft and HP as an approximation of the color profiles of the most common computer displays. sRGB, like most monitors, is described as having a very "narrow color gamut". Returning to the sack of tennis balls analogy, sRGB is a tiny sack. There is a lot of color information that the monitors and sRGB simply can't display.

We run into problems when we work on images in image editing software in a huge "wide gamut" color space like ProPhoto RGB, and then export the images as JPEGs to show on monitors with a tiny color gamut that cannot possibly display all the colors in the color space we were working with.

When we make this mistake, the images look perfect in our image editing software, but when we export them as jpgs and view them through a web browser, the colors are very desaturated and look strikingly different. Here's why: Browsers do not color manage the way image editing software does. Even though our jpg explicitly states in its metadata that its color information only make sense in the ProPhoto RGB color space, the developers of browsers are concerned with developing pop-up blockers and security features, not figuring out ways to extract color space information from images and converting them to look perfect on everyone's monitor. The developers of browsers have ignored color management.

Image editing software, in contrast, is good with color management. It knows that I am viewing my images through a monitor, and it knows the profile of the monitor, so even though I am working in the ProPhoto RGB color space, my image editing software picks and chooses what colors to take out of the enormous sack of my ProPhoto RGB color space and pack it into the tiny sack of my monitor profile so that the image looks like it should.

So the browsers, not color managing, just assumes that every image is made custom for display on the tiny color space of the monitor. If you give a browser an image with a wide range of color information from an enormous color space like ProPhoto RGB, the color information will be essentially clipped - thrown out. What you end up seeing is a strikingly desaturated image.

To solve the problem, we need to do the color management for the browsers by converting the image to sRGB, our best guess at how monitors are going to reproduce colors. In Photoshop there is a "Covert to Profile" feature. In Lightroom, we can choose the destination profile when we export. Only by converting the profile can we can export as a jpg and expect to display our photos on the web the way that they look to us in our image editing software.

<img alt="Kayakers_surfing_a_standing_wave_on_the_Lochsa_River_Idaho_1443_p.jpg" src="http://jeffpflueger.com/mt/weblog/Kayakers_surfing_a_standing_wave_on_the_Lochsa_River_Idaho_1443_p.jpg" width="350" height="233" align='top'/>

<strong>This is a ProPhoto RGB colorspace image. If the image looks desaturated compared to the image below, it is because your browser doesn't color manage to convert this image to your monitor's profile.</strong> When viewed in image editing software, the software is "color managing" - taking into account the profile of my monitor, and it converts the ProPhoto RGB color space into a profile appropriate for my monitor. Web browsers, however, do not color manage. So when this ProPhoto RGB colorspace image is presented on a monitor through a web browser, colors are essentially clipped, and we end up with a desaturated image instead.

<img alt="Kayakers_surfing_a_standing_wave_on_the_Lochsa_River_Idaho_1756_p_2.jpg" src="http://jeffpflueger.com/mt/weblog/Kayakers_surfing_a_standing_wave_on_the_Lochsa_River_Idaho_1756_p_2.jpg" width="350" height="233" align='top'/>

<strong>Same photo but now manually converted to sRGB to do the color management for the browsers.</strong> To deal with the fact that browsers don't color manage, do the color management for them and convert images to sRGB. Much better!

<strong>Check this page in a few years. Perhaps by then, web browsers will be color managing, and the two images above will look pretty darned identical.</strong>]]>
      
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