Brainstorming about our character is rather enjoyable. Photographer: Liz Kearsley

The first thing that really blew my mind about online writing was that I could bring in many different media into my story, making it a more interactive and immediate experience for readers. I’ve often been frustrated while telling a story to my friends that I just can’t describe that hilarious expression I saw so-and-so make, or an incredible stunt my cat performed, or why some songs send chills down my spine (“Writing about music is like dancing about architecture” – who said that?). Writing in cyberspace means that I don”t have to settle for only my description to convey the experience I am trying to share, but can bring my listener right into the moment of my cat’s star-jump with back flip with a picture, video or drawing (a talented cat must be appreciated, after all).

Also, using different media brings the reader into the process of my story, so that I can document the many stages of building an enormous Lego castle, making my own toga, or what have you. In the web space, I can choose how intimately I want my reader to know the details of an experience, real or imagined, sharpen my tech skills by weaving other media into the page, and also learn the importance of using social media effectively. Having this ongoing story-space also keeps me alert to funny stories during the everyday so that I can appreciate the happenings around me as I would not otherwise. I have to say that I really enjoy this shift in perspective.

I’m really excited about sharing the product of our joint creative efforts at the Narratives in Cyberspace workshop AhimsaMedia is hosting next week at Capilano University, designed specifically for youth. Through trial and error, we discovered many tweaking tips that would save fellow storytellers a lot of time (and I admit, frustration); I’m also really pleased to have the opportunity to tell others the tools and tricks we learned navigating various social media platforms and our experiences creating our character and her story.  If you’d like to register for the week-long Narratives and Cyberspace workshop, click here. We’d love to see you there!

The first new addition to the family is Liz Kearsley, a photographer and journalist hailing from the UK. Liz has already been a nominee in an international photography contest since she joined our ranks and has had a few rather amusing introductions to Canadian culture, having joined us in Yorkton, Saskatchewan, to help tell the Yorkton Film Festival’s story interactively.

3 of our new team members: Bronwyn, Liz and Alyzee

Shortly after Liz’s arrival, we had twins!  No, really we welcomed two new interns from UBC’s English Department, Alyzee Lakhani and Bronwyn Malloy.  Both have been a welcome addition to the team.  They have been getting their feet wet writing on the Yorkton Film Festival Blog and helping Emme Rogers out with her prose.  Currently they are busy developing a tween and teen friendly character for Erica Hargreave to talk about in the classroom, and they will be assisting Erica this summer with her programs for Capilano University and the Delta School District.

Liz, Alyzee and Bronwyn Playing with Imagery for the Shaw Rocket Fund

Finally, we are very pleased to have Susan Brinton acting as a business advisor to us on some interactive projects that we are building for the future.  With over 20 years experience in film and television, including as an Executive in Charge of Production for CanWest and the Global Television Network, and as a Senior Policy Advisor for Television for both the Canadian Television Fund and Telefilm Canada, Susan’s advice and guidance is absolutely invaluable. We are thrilled to be working with and learning from her.

© Liz Kearsley 2010 Richard Gustin (left) and Marcus Guske (right) of Bluepoint Investment Corp pictured at this year's Yorkton Film Festival with Minister Dustin Duncan and Valerie Creighton.

“Bluepoint offered the best bid,” Tourism, Parks, Culture and Sport Minister Dustin Duncan said.  “Along with buying the assets there is also a commitment to buy new Saskatchewan programming content that will support the film industry and to develop digital content.”

© Liz Kearsley 2010 Dustin Duncan, Minister of tourism, parks, culture and sport, Saskatchewan speaking at this year's Yorkton Film Festival lunch in his honour.

Bluepoint are planning to ensure a community focus is alongside growing as a broadcaster, and the government felt they were the best fit to ensure a continuation of a Saskatchewan educational broadcaster.

CEO and founder of Bluepoint Investment Corporation Bruce Claassen reiterated that by saying: “We are delighted to have the opportunity to operate SCN in the spirit of its original vision, yet with a real chance to grow its audience base with additional programming.”

© Liz Kearsley 2010. Bronwyn Malloy on Spanish Banks, Vancouver. Shot for Ahimsa Media

Many photographers have become fearful of the internet, in recent years.  It is a double edged sword, a great tool for getting our work seen by a wider audience, but it’s also hard to track images, copyright infringements and keep up to date on where and how to safely display our portfolio.

I was rarely lucky to be trained in photographic law, the importance of retaining copyright and it’s worth.  However, with an increasing number of people entering photography from a range of backgrounds, it is becoming vital for us all to keep up to date on the legalities of copyright and how the internet affects your rights as a photographer.

The easy part first: if you take a photograph, whatever it is of, (unless you agree e.g. through a staff job or by written contract) you own the copyright.  You do not need to register your photographs in order to activate it.  However, if you are uploading images to online sites or submitting to any news outlets, competitions … etc. you must, must read the terms and conditions as many will remove all of your rights.

There is infinite depth to this topic, so today I am going to try to simply highlight a few key issues that are likely to affect the majority.

A screen shot of one of Ahimsa Media client Yorkton Film Festival's watermarked albums on Facebook

The most prevalent image outlets in my mind are the ever growing social media sites. They are wonderful tools for connecting with friends and networking, but are not designed to protect the photographer, quite the opposite. Take for example Facebook, they have been recently hitting the headlines due to the site’s privacy laws. From a photographic point of view, their terms have another massive problem. Every time you upload a photograph to Facebook you agree that :

“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.”

What this means is that as long as your photos are on Facebook, they can be used by Facebook without paying you. They don’t prevent you selling elsewhere, but can use your pictures for free.  For this reason I ensure any content I place on facebook is watermarked.  Of course, the vast majority of snaps we put on Facebook are not commercially viable, so you have to decide what you don’t mind being used by others.

Facebook terms, however, are not the only thing we should be fearful of.  An even more worrying feature for the future is the stripping of photograph metadata, and as a result the loss of all copyright contact information.

Metadata is a photograph’s embedded information.  It is contained within the photograph and is there to inform the viewer / potential buyer how the photo was shot, by whom and what it is of.  Some of this data is automatically recorded by the camera (it does depend on which camera you have, how much, if any, is recorded).  For example, the camera settings, f-stop, shutter speed, ISO.  Other information is inputed by the photographer using editing software, like Adobe Photoshop or Lightroom.  We use this to record our copyright information, website, keywords, captions. … etc … etc.   It ensures that anyone who may wish to use your image knows who to contact for permission.

A screen shot of an image in Adobe Photoshop with the metadata box (file info) open to edit.

In the past (and even at current), metadata has been enough to cover us legally should anyone try to use a photo without permission, as you have included your contact information and if they do not follow up it is a copyright breach on their part.  However there are new laws in the works in both the US and UK relating to Orphan Works.

Without getting too technical, in the last 12 months, both countries have come close to passing bills, which if passed, would have legislated the commercial use of any photograph whose author cannot be identified through a suitably negligent search (an orphans work).  That would mean anyone could use any of your photographs that are not watermarked or do not contain metadata.  Currently strong industry opposition has prevented this legislation, but many think it is only a matter of time before it becomes a reality.

In layman’s terms and in the words of Copyright Action, this is what this bill would mean:

Essentially, if photos were cars, so long as the numberplate is missing (or you can get rid of it and claim it was missing), you’ll be able to legally TWOC and use it on payment of a fee to the Government.

And facebook is not the only one to strip your metadata. Most social media sites and blog providers strip that data too. Why? Because doing so saves a little bit of space per image, and with millions of uploads, site providers think this is worthwhile.  They realize few people are aware of the affect that this could have, and I must admit before writing this post, even I was unaware of the extent of sites stripping data.

US photographer, David Riecks, has been doing some research into metadata stripping and his early results shocked me.  He has created Controlled Vocabulary to document tests on different sites and see how they change photo uploads.  As expected, Facebook, Twitter and Google Docs removed all metadata. Flickr retained the content (despite my hearing comments to the contrary).  Currently getting mixed information with blog, like WordPress and Blogspot, so testing that further.  Will get back to you with my findings.

If you are worried about your rights and the law regarding your images, there are a few ports of call I try to keep an eye on: firstly Carolyn E. Wright’s photo attorney website, as she is uniquely useful being a full time photographer attorney, who is also a professional photographer.  Out of Britain I have found EPUK invaluable.  They deal primarily with the editorial market, but their sister site Copyright Action contains a great deal of useful basic information for both photographers and image buyers.  And finally Pro-imaging is great for a variety of information.

Alyzee Lakhani on Spanish Banks beach, shot for Ahimsa Media.

Caption accuracy and editing used to be the main tasks us photographers had to focus on following a shoot.  Today that has all changed.  With a multitude of platforms to display our photographs, most freelancers now have to get to grips with internet distribution too, on sites like photoshelter, flickr and stock agencies.  As a result intelligent and extensive keywording has become a vital tool.

My newspaper background means that I have always been most at home with the new agencies for any sales beyond a newspaper or magazine.  I, like many British press photographers, have many photographs listed with Alamy, yet as my client list widens so do the places I display my work, and with that I have found my workflow techniques evolving.

Everyone has their own process of editing using different software, be it the camera’s e.g. Nikon Browser, professional e.g. Adobe Lightroom or computer based e.g. iphoto.  I use Adobe Lightroom and have found it is a great time saver for multi-use captioning and keywording, as well as embedding photographer information into your images prior to editing.

However it was not until I uploaded our coverage of the 2010 Yorkton Film Festival to flickr that I discovered just how much time can be saved by properly preparing your images.  I’ll use Lightroom processes here as an example, but different software has similar options.

When I open up Lightroom 2 and attach a memory card an option box pops up (see below).  It includes a variety of things you can input for the entire photo batch.  In the local newspaper game each download usually involved several jobs so I wouldn’t fill much of this in, bar my copyright information, (which I have pre-programmed) so I would put in minimal keywording or captioning then download the pictures.

A lightroom screen grab of opening page information

This has recently changed when I realised just how much time can be saved by keywording each image prior to upload and to batch keyword jobs initially. One reason for this is that on flickr you must place quotation marks around each phrase longer than one word to tag or keyword and then a simple space between single words.  Whereas, most other systems use the simple comma to separate phrases.  As a result most of us need to continually remind ourselves to use this method, and it can become awkward when cutting and pasting repeating words.

Whereas, in Lightroom you can place your group keywords in that initial download and then easily add individual words whilst editing.  Take for example the image below:

Screen shot of Adobe Lightroom 2, with keywording options open

On the right hand side of the page the panel gives a variety of keywording options.  You have a list of the keywords already attached to the image (from initial download), then a section to add more, and options for the programme to remember past keywords in groups for you.  It allows you to easily click and add without re-typing.  I tend to keep that option on recent keywords, due to my varying shoots.   Below the keywording panel, is also a keyword list, with ALL your past keywords, which can be handy if you forget spellings. Below this is a section detailing your metadata.  The metadata is crucial picture information: copyright information, caption and shooting data.  This can be edited at either the download section, or within Lightroom. You can also input it in Adobe Photoshop.  (I will explain in a further post the importance of metadata in relation to copyright theft and in particular facebook)

I have found that inputting all of this information into Lightroom significantly speeds up my uploads and keeps my files up to date should I wish to use the photos on a different outlet.  It also means that my contact information stays with my image (bar placing on facebook) so if you wish to upload to various sites you do not need to keep typing the same information.

Embedded information is also very useful should you later wish to put the pictures onto a blog, for example using Wordpress.  It can help bring further traffic to the site, because the photos keywords are also added to the SEO of the post.

Whilst Ahimsa Media were co-producers, multi-tasker Erica had a starring role, was the show’s creator and writer joining forces with Kevin Fraser who took on the show’s story editing aspects.  I’m sure you’ll all enjoy the clip below to see Erica in action.

This is the first year such funding options have existed here in Canada and although the fund’s guidelines are still evolving, it is this open invite for submissions that we feel can allow the creative juices to follow.  The CMF are also widening their view towards the advantages of transmedia storytelling for their more traditional television fund with the convergent program.  This provides exciting opportunities for traditional media to discover new avenues with their storytelling and really have fun with the new challenges and opportunities that the changing landscape of media offers.

In keeping with the times, the Yorkton Film Festival has really embraced the idea of Interactive Storytelling, and has contracted us to help them to tell their online story.  They are rebranding their image, doing a bit of marketing for the festival and the Golden Sheaf Nominees, and acting as a case study example to festival delegates of how interactive tools can be incorporated into their stories.  Way to go Yorkton!  And thank you for inviting us along for the ride!

To follow along on the Yorkton Film Festival’s online story, check them out on:

• 

  yff avatar

  yff blog

• twitter
• facebook
• youtube
• youtube group
• flickr
• flickr group

In keeping with this model of forward thinking and moving towards the future of media, the Yorkton Film Festival is hosting some great workshops on Friday May 28th, 2010 aimed at thinking convergently, including a few with our own Erica Hargreave.  Here is what you can look forward to:

Friday May 28

• 8.30 am – 9:00 am:  Blast Off – Social Media at the Festival, Ramada Yorkton

A look at telling the Festival’s story using social media and how filmmakers can use this to build the buzz around their productions, with Erica Hargreave.

• 9:15 am – 10:15 am: Panasonic Workshop and Presentation, Ramada Yorkton

Panasonic Canada presents and discusses the latest Panasonic video cameras and technology, including notes and news on 3D.

• 10:30 am – 12:00pm:  Let’s Play CanCon Convergence Roulette, Ramada Yorkton

A fun filled game show where panelists compete by trying to adapt new convergent technologies and applications to classic Canadian TV shows. Hosted by Robert Hardy. Panelists Cam Bennett, Trent Haus, Rob Bryanton, Brenton Sawatzky and Erica Hargreave.

• 2:00 pm – 4:30 pm: Which Way To The Future? Ramada Yorkton

Spend an afternoon with some of the biggest names in the industry, as they try to make sense of and figure out where the rapidly changing screen based media industry is headed. Hosted by Richard Gustin. Panelists Cindy Witten, Daniel Cross, Norm Bolen, Valerie Creighton and Rudy Buttignol.

Saturday May 29th, 2010 at the Yorkton Film Festival hosts some always needed industry staples, putting you face-to-face with the broadcasters, talking finance and actual production, and discovering how to get your proverbial foot in the door.

Saturday May 29

• 8:30 am – 9:00 am: Blast Off – Social Media at the Festival Part 2, Ramada Yorkton

Explore ways to use social media as a storytelling device on your projects, with Erica Hargreave.

• 9:15 am – 10:15 am:  Now’s Your Chance, Ramada Yorkton.

Table-hopping group discussions with industry leaders, broadcasters and distributors.  Ask the questions you’ve always wanted answered.  Join industry leaders for straight talking, small group discussions.  A rare honesty that Yorkton offers, unlikely to be found at larger festivals.

• 10:30 am – 12:00 pm: Oh, Oh! They Said Yes – Now What? Ramada Yorkton

You’ve finally pitched a project that a broadcaster/investor likes enough to make an offer. Join the panel of experts as they share insights and ideas of what has to happen in order to get the proposal into a finished project. Hosted by Joanne McDonald. Panelists Stephen Onda and Peter Raymont.

• 1:30 pm – 3:00 pm:  My Big Break, Ramada Yorkton.

Five successful Saskatchewan film and television producers discuss their first big “success” and how they found it (or how it found them).  Hosted by Bruce Steele.  Panelists Michael Snook, Jeff Beesley, Dennis Jackson, Melanie Jackson and Anand Ramayya.

Click here to register for this year’s festival.

We hope to see you in Yorkton!

Photo from The Hague’s Nationaal Archief

I’m excited to be embarking on a new educational adventure this year! My new classroom will be in the Broadcast Communication Program at BCIT and the Continuing Studies Department at Capilano University.  At both schools I will be teaching Interactive Storytelling.  Not completely sure, but I do think these are two of the first Interactive Storytelling Courses at Post Secondary Institutions in Canada.

So what is Interactive Storytelling?

I define Interactive Storytelling, as storytelling across platforms of media, some of which are interactive, allowing the audience to interact with the story itself, if they so choose.

For the purposes of these classes, whilst we will be looking at examples of other forms of interactivity, such as ARGs and Gaming, the focus of the class will be on using different forms of social media (such as blogs, twitter, facebook, blip.fm, flickr, podcasting..etc) to make traditional stories (such as novels, films, tv, articles, radio, plays, brands …etc) more interactive. Through the course of the class, the participants will use these social media tools to build an interactive component to a project of their own.  This can be a project that they have developed in the past, are currently working on or are just using as a tool to experiment with telling stories interactively.

Who is this course for?

Anybody who has a story to tell, whether it is that of a place, a brand, a novel, a play or a film or TV series.

Here are the details on the two courses:

Capilano University

• Course Code: CRN 10020 – Interactive Storytelling
• 6 week course
• Tuesday Nights from 18:30 – 21:30 (6:30 – 9:30 pm)
• North Shore Campus
• March 2, 2010 – April 6, 2010
• This is a non-credited course through Continuing Studies.

BCIT

• Course Code: BCST 1073 – Interactive Storytelling
• 10 – 12 week course
• 3 – 3 1/2 hours a week
• Course Date Pending: Either April or September
• This is a credited course through the Broadcast Communications Program, but don’t let that scare you off, as it is open to the public and you do not have to be a full time student to take it.

Also stay tuned for an Interactive Storytelling Course for Youth during the Spring Break with the Delta School District!

One of my favourite winter time activities is animal tracking, especially in the snow.  I love finding animal tracks, identifying them, and creating stories of the critters that left the tracks behind on their travels. And animal tracks can be found anywhere in winter, even if there is no snow.  If there isn’t any snow, go hunting in the mud or on ground where the mud has hardened, for some tracks.

Here are some fun kitchen goodies that are easy for all ages to whip up and can help you to learn your animal tracks.

Peanut Butter Snack Tracks (A Tracey Temple Invention)

Recipe:

• Mix ½ c peanut butter, ½ c icing sugar, 1 tbsp softened butter, and ½ c Rice Krispies together.

Activity:

1. With your young ones or the young at heart, take a heaping spoonful of the peanut butter mixture, flatten the peanut butter ‘dirt’ and make the imprints different animal tracks in it, using the picture of animal tracks as a guide.
2. Stick the peanut butter tracks in the fridge to harden.
3. Whilst your peanut butter tracks are hardening, enjoy a winter walk and search for animal tracks, identify them, and create stories of the travels of the animals that left the tracks behind.
4. Share your animal track stories and teach your family and friends some track id as you enjoy your peanut buttery snacks.

You can also find last year’s paper making activity here.

Happy Holidays!

The Gang at Ahimsa Media

Emme at the Launch of Reading is Sexy (Photographer: John Biehler)

This Saturday we will be proudly looking on as Emme makes her debut in Toronto society, kissing calendars for dyslexia!  If you are in Toronto, come and meet Emme Rogers from 1 – 3 pm, Saturday December 19th at Ben McNally Books (366 Bay Street).  You can also support The International Association of Dyslexia and promote literacy by buying a Reading is Sexy calendar.  Calendars are on special for $18 at the event or $20, if you want to kick in an extra $2 to dyslexia. Cash or cheques will be accepted.

Stick around afterwards and Emme will be heading to a pub with anyone that wants to join her.  And knowing Emme, she will buy a couple of plates of nachos and a few pitchers of beer for the table.