HDR Chrome Effect in LightZone

An popular effect is the HDR, gritty, "chrome" look. After watching a video on the technique, I thought I'd give it a try in LightZone.



This look is achieved without actual HDR, but by contrast, local contrast and saturation adjustments.

The steps in LightZone involve dropping a number of tools on the stack and adjusting them, which is a different approach than Photoshop or Lightroom.

1. Drop a Hue/Saturation tool. Set Vibrance to 100.
2. Drop a Sharpen tool. Set Amount to 500 and Radius to 50, adjust until you get a "comic book" or "chrome" look (strong blacks, faded, three-dimensional pastel colors).
   
3. Drop a Zone Mapper tool. Define points at 2 steps down from white, 5 steps down from white and 4 or 5 steps up from black. Push the white point up to where it divides the top step in two, leave the middle point alone, pull the black point all the way done to keep contrast. Later, you can adjust the middle tone contrast by adjusting the middle point.
4. Drop another Hue/Saturation tool. Pull the Saturation slider back, reducing saturation until you like the effect.
5. You may choose to drop a Relight tool to adjust overall brightness and graininess, but you may want to zero the Detail slider or turn off the Sharpen tool and use the Detail adjustment instead.
   

So you do not have to go through all of these steps, I created the HDChrome style you can download for LightZone here to use as a starting point. Download the archive file, extract the .lzt file and save it to your LightZone templates folder and it will appear under Custom styles.

Reducing saturation gives an image the feeling of a drawing, as if an ink drawing has (or photograph) has been tinted. Starting with a pastel image, mostly gray with touches of color gives this result, if there is texture, this will become the "ink" part. If you start with a metal object, like a car or motorcycle, it can enhance the curves and create the appearance the metal has been chromed, and enhance already chromed parts.

Twitter as Attention Machine

I am reading On the Origin of Stories, a new book by Brian Boyd, which to make a long story short, draws conclusions from recent research into the mind and evolutionary psychology, that status is essentially attention (or at the very least attention is the currency of status). I can see how this applies to Twitter. The ability to 'favorite' another twitter's content is yet another way of bestowing attention. Twitter is an attention machine. When visiting a twitter's profile, being mentioned or retweeted in the stream of updates or being favorited are ways of gaining attention. A twitterer gains when a user with high attention favorites one of their tweets and more so, when they retweet.

Mixing Conversation and Story

I realize now the real problem I have been working on and off for ten years now is 'conversation' versus 'story', but particularly applicable to journalism. In a way, conversation and story are like oil and water, they do not like to mix. Yet, stories are filled with dialog, or conversations, so why is that journalistic stories cannot contain dialog? Well, when it is an interview, they do. So what we need is a network tool that seamlessly integrates conversation (interview, written dialog, transcript) with story (narrative, reportage, essay and analysis). It looks like Google Wave has the closest technology to achieving this flexible confluence of conversation and story, even the potential for our conversations and stories to be both mobile and distributed. If every smart phone adopted Google Wave, and given that it works similar to email, which mobile computing already provides and is a robust and well-known commodity service, it promises quick adoption avoiding any centralized monopoly.

I envision the same tool could be used by a reporter to do an interview (dialog) and for personal self-expression (dialog, like Twitter, only sharing little bits of information, such as links). An interview consists of dialog, little snippets of information associated by place and time. This has the form of Twitter messages, but a chat application is much better for doing an interview than Twitter, so some new mechanism must be created to accommodate flexible use, moving between story and conversation, between longer and shorter length posts, between collaborative and authored posts.

Turning off the data tap for Routesy

An interesting question about ownership and rights to data in public use has arisen, chronicled in Apple kills Routesy app, my iPhone gets less useful

Routesy is an iphone application using data provided by the municipal transit authority, through an agreement with a data provider. The details are in the article, if you care to read them.

I have to agree the company has a right to license predictive arrival times, since such information requires investment in research and development, formulating predictive algorithms and such information does not meet the requirement of being "obvious" and thus non-proprietary.

However, the ultimate solution would be an application that took GPS data from every iphone riding the metro at any given moment, if it can be identified as to which bus it is, then do the same kind of approximate arrival time calculations NextBus does, only through peer-to-peer networked computation. Let all the iphones on the bus line find their own position, communicate with each other, track the movement of buses, compare to published schedule and then present the approximate times to the riders. A distributed system of self-analysis. Since all iphones would be held in private hands, and the data shared between peers, who agree to participate by sharing data on their location, the data would be owned by no one. Each person would own their own location and decide whether or not to share it.

Google Wave and Portable Social Media

A quick observation about Google Wave.

I wrote some time ago about the problem of social media losing its social context as it moves around the digital universe. I thought some mechanism should be created to enable the social context pertaining to a unit of social media to be portable, so it moves along with it. It appears that Google Wave associates the people who pertain to a document (the authors, editors, people with access to view or edit the content, etc.) with the content in a portable way, through its "wavelets" concept.

It seems possible to share or transfer a piece of collaboratively authored content across the Wave system and into other systems with its social context intact. If so, this is a revolutionary step in the evolution of information technology. It gets my vote as the first technology I've seen that truly could be called Web 3.0, as far as I'm concerned.

It would only be right, if you downloaded a image from such a Wave based system to your pc, that it would somehow preserve the social context, perhaps with XML sidecar or embedded meta data, like the EXIF standard for photographs. The content could be uploaded back into a Wave ecosystem with its social context intact, possibly even after local edits.

Is Your Life Poetry or Nihilism?

ReadWriteWeb asks this question. Poetry is reflective. Journalism also should be reflective (if all journalism were like C-SPAN, we would be better off for it). I am sure we could and perhaps will find ways to mine activity feeds for patterns and other useful information. It may find uses in many fields and places in life, perhaps even in medicine. But the real reason why there is so little reflection on the web is simply because the structures and tools of the web encourage shallow interaction, quick posts, short content, quick reads, quick writes. This is an area I've given some thought to and posted to the blog about it.

What is required is not some new gizmo for finding patterns in bits of trivial data, but tools that encourage people to slow down, to be reflective and create meaningful content. My idea presented here has been of a "quick-slow" system. This system would recognize the importance of brief, concise posts when things are happening (like you've just landed safely in an aircraft with the landing gear stuck and want to tell your friends or the world) and longer, slower, more reflective posts. This system would allow users to post concise messages like Twitter does, but those messages could be expanded on, by expanding the text or by associating longer texts with them. The idea is not entirely new. About ten years ago, I played with a prototype application trying to combine blog and wiki elements. Later, I discovered a more successful project to combine blog and wiki, and an application exists called a bliki.

What I propose is a system like Twitter, which retains its immediacy through a connection to text messaging (cell phones) and the "stream of concise posts" format, yet also provides a way to extend those posts in a meaningful way. Perhaps a user's followers could be allowed to edit the extended content, creating a community of editors and contributors.

What we really need is to encourage people who grew up "network native" to slow down and think before the write, or at the very least, if they have to capture an event or thought with quick, impressionist strokes, they or others should be able to return later after reflection to revise. A kind of "slow news" for journalism, akin to the slow foods movement, asking people to sit down and think a while before they write. This may be asking too much for journalism, but a quick-slow approach could support both quick impressions (what's new) and reflection (analysis). Moreover, this could support a collaborative approach that mixes reportage (the initial concise post, possibly with a picture) and analysis (the associated post, perhaps by an analyst).

The poet Basho revised his haiku many times over the years, sometimes refining the wording and other times he would write a new poem, depicting the same experience from a different aspect. This kind of revision and reflection should be encouraged and supported by technology. Haiku are an ideal model. Brief, concise, experiential, yet through juxtaposition and the many hours of careful writing, they convey higher truths.

I see a number of people writing on Twitter in haiku form, quite a few who are just arranging prose in haiku form and really have no understanding of haiku as an art form (poetry has to say something to be poetry, and say it in a way that affects us). I want to be clear, there is a new form of haiku practice emerging on Twitter, which is akin to the the impressionist movement in painting, where haiku are written on the spot and posted to Twitter from a cell phone. This is a new development in haiku, since most haiku are written down long after the poet has left the place of experience (not always, Basho sometimes wrote haiku and left them behind, but nearly all the haiku that reach us were probably revised many times long after he had visited the location). It bears watching.

Something Must Be Going On

The heart of OCD is a feeling of "not being right" or repeating a ritual until it "feels right." A creative mathematician experiences intuition as a feeling there is "something going on here but I don't know what it is" according to William Byers in How Mathematicians Think. You were probably taught in high school that mathematics is a rigorous and logical endeavor and that for every mathematical principle there is a proof. It was implied to you that mathematicians seek out new principles by following threads of logic from an existing proof to a new proof. You were taught a myth. Most mathematical breakthroughs began with an intuition. Only later, after the instruction was explored well enough to believe it was true, to believe it was worth proving, perhaps even after it was proved to the satisfaction of the mathematician was an "official" proof created for the record. Proof comes after the fact, not before it. An interesting relationship between obsessive compulsive disorder and mathematics.

Moreover, instruction plays a vital role in creative mathematics. Just as in other creative arts, a shift of frame is required to turn the ordinary into the novel. The author relates the story of how he along with fellow mathematician John McKay noticed something curious about a single number. If you express adding one to 196884 as an equation you get 196884 = 196884 + 1. On the surface, it hardly seems worth the interest of a mathematician. You can add one to any integer on to infinity, something obvious to even non-mathematicians. What is so fascinatingly curious about this instance? As Byers writes, "...these are not just any two numbers. They are significant mathematical constants that are found in two different areas of mathematics." The relationship of the constants could not be a coincidence, thought McKay, who began a line of inquiry leading to a series of conjectures, which went under the fanciful but telling name of "monstrous moonshine." I want to linger a moment on this point. Here we have a mathematician who sees something curious, which prompts a "gut feeling" something systematic must be going on, a suggestion there may be a relationship between two systems of mathematics, who starts inquiring into the possibility, and as he finds more support for the reality of the intuition, he begins to make conjectures about how the two systems might be connected through the curiosity he discovered. At this point, we can hardly blame a mathematician for feeling he was chasing "moonshine." But that is exactly what creative people do. They chase moonshine and rainbows. Yet, somehow they end up driving the process of scientific rational, mathematical and artistic discovery. McKay's conjectures were later proved.

Byers does relate mathematical creativity to artistic creativity, observing good mathematicians (the creative ones) are very sensitive to the feeling of something going on, and ties mathematical intuition to the poet's, quoting the poet Denise Levertov saying "You can smell a poem before you see it."

This is all a blow to anyone raised on the rhetoric of rationalism. The human mind is a reasoning machine. Human beings are rational actors seeking the most efficient path. This ought to be nonsense to any carnival barker or snake oil salesman, but for most educated people it is a conceit they sustain because they enjoy the belief they are rational. Reason has become a virtue and virtues cannot be questioned.

At the bottom of human irrationality may be rational decisions, observations, the machinery of the mind is not metaphysical, but the abstract layers above the fine grain of deterministic reasoning are irrational. The mind is connected to a body. People get "gut feelings" as their mind tries to tell itself something from its emotional, pattern recognizing centers. How else could the pattern recognizing centers of the brain communicate with this supremely rational being, other than by kicking it in the gut?

I take away from this you will not be a creative scientist, mathematician or musician unless you learn to use your intuition. Exercise your curiosity. Keep a childlike sense of astonishment about the world around you or the inner worlds you explore. Experiment. Follow instruction. Don't worry about the result, the path to a Nobel prize in mathematics is not by seeking that which is likely to win a prize, but by following up an intuition, seeing where the thread will lead, without any thought to where it will go, other than to satisfy curiosity and that feeling of something must be going on.