So you want a web page…

So you want a web page, don’t you? But do you want to make it yourself or have it made for you? Let’s say that you are self-taught with no experience in web page creation, but you have some time and some more interest in designing it yourself. Then, what I will tell you (with no digression at all) is what I would have found useful for me when I decided to start this very web four weeks ago.

If what you want is a free blog, go to WordPress.com (the site) and sign up there. If you want a web more functional than a blog, your needs will be different and you will have to pay to satisfy them. But it will be worth the effort.

You will need a domain, a hosting plan, and WordPress (the language to create webs, not only blogs, located at WordPress.org). Yes, those make the Holly Trinity of web making.

  1. A domain. A domain is a name (or an internet address) for your web, such as cocacola.com. Choose a name that represents well your web. Go to a domain registrar. For instance dondominio.com, hostsuar.com, cdmon.com, sites that I know, directly or indirectly, to be really serious. If you know others, go for them. There you can learn whether the domain name that you have chosen is already in use; if not, you can buy it for some 10 euro a year. As long as you pay that yearly fee, the domain will be yours.
  2. A hosting plan. All of the three domain registrars that I’ve suggested offer also hosting plans; your web will be well tended in any of them. There are a lot of options and prices, but a shared hosting plan will suffice for a good start. It will cost you 50 to 80 euro a year. It is important that the host offers php (programming language) and MySql (database), so that WordPress can be used. It is also interesting that it offers CPanel to manage the services and space in the server. WordPress installation should be automatic or nearly automatic. Regarding the hosting plans that I have recommended, only hostsuar.com offers a multidomain option (you can host there more than one domain if you own them). Domain and hosting can be from the same or different companies; all the rest being equal, I prefer different companies so as not to put all the eggs in the same basket.
  3. WordPress. If I tell you that 80% of the webs are created with WordPress, I’m giving you a figure that I have read repeatedly on the net. I have not checked that percentage, but it seems true. WordPress lets you to create a simple functional web in a few hours, and investing more time (a few weeks), a complex and professionally looking web. This program is intensive in the use of themes (the look of the web) and plugins (its functionalities), and quite a lot of them, themes and plugins, are free and downloadable from WordPress.org. I would suggest to start with the Twenty Fourteen theme and try and learn what you can do with it. You could also search for themes or actual webs devoted to the type of activity or business of your future web. Suppose you are a photographer, then you could restrict the search initially to the themes for photographers’ webs. Eventually, with what you learn about the Twenty Fourteen and what you find in your search, you will decide if you need something more than free themes. If you do, it is time to think about DIVI.
  4. The DIVI theme, from Elegantthemes.com, and the rest of the themes and plugins offered by that company for 80 euro a year in their developer’s subscription (or 280 euro for a lifetime subscription), is the most comprehensive set of look and feel for webs on the market. More than 300.000 designers, including me, use DIVI.

 

With what I have told you, in four weeks and without previous knowledge, you can design a web as professionally looking and usable as you can imagine it. If your are reading this post, you know my web, and that is the time I have spent as to the 11th October, 2015, including three posts and selection and edition of all its contents.

And I am sure you are smarter than me. In the end, I’m only four weeks ahead of you!

Greetings and good luck!

 

PS: Two details. First I have not mentioned the big monsters of hosting, such as bluehost.com, hostgator.com or navegalia.com (in Spain) and others, because I have read quite a lot of awful opinions on their services. The most common complaint being that they offer quite a lot, give quite less, and don’t help you when in need. Second, I have not commented on the use of php, SQL, html and CSS to be a proficient web designer, but you don’t need them to make your web.

Critical shutter speed for freezing movement

As said in the m/s photobook, The speeds of the objetcs represented in pictures must be learnt outside the pictures themselves; there’s no way of knowing those speeds by the study of pictures’ metadata. What is feasible, albeit not practical, is determining the critical shutter speed to freeze the movement of the objects captured. This has no real usefulness but can be interesting.

Factors influencing the critical shutter speed for freezing movement of the object on a picture are:

  1. Visual acuity (VA = 0.2 mm). It is considered normal vision (20/20) a resolving power of 0.2 mm at a distance of 25 cm. In such a case, 2 points at a distance less than 0.2 mm would be seen as one point.
  2. Eye to print distance (E2P = 25 cm; from a 21x14 cm print).
  3. Object to camera distance (O2C).
  4. Object trajectory to focal axis angle (O2F). From 90 (perpendicular) to 0 degrees. The quotient of the angle of trajectory divided by 90 is to be multiplied by the real speed of the object to obtain its apparent speed, which is what will influence the result of the capture.
  5. Appearent object speed (AOS). As said, it equals to Abs(O2F/90) * real speed.
  6. Crop Factor of sensor (CF). APS-C = 1,5; Micro 4/3 = 2. FF = 1.
  7. Lens Focal Length (F) (mm).

These variables can be grouped so that partial calculations can lead sweetly to the final result.

Distances must be treated together. The first that must be determined is Df (Diagonal of the frame “seen” by the diagonal of the sensor at D distance with a lens of F focal distance): Df = (Ds * D)/F.

From here, Proportion 2 (Df/Dc) determines what distance in the frame represents the 0.2 mm of the 25 cm copy seen at 25 cm. Those 0.2 mm will distinguish frozen from blurred object rendition. Let’s call the corresponding distance in the space framed by the picture (CDf).

The inverse of the time needed by the object to span the CDf distance is the critical shutter speed. In the first column of calculations of the next excel figure, critical shutter speed has been calculated to be 1/965 s. That exact speed will probably be unavailable with any camera; with a Fujifilm X-T1, the nearest speeds available are 1/1000 s and 1/800 s. Capturing with the former, the object will look frozen; capturing with the latter, blurred.

And that’s all. There is blurring from movement when some point of the image has moved 0,2 mm or more on the 25 cm diagonal print due to movement of the object.

NOTE: We have made all calculations in meters per second (m/s).

 

The craving for pictures

Since the advent of mobile phone cameras and social networks, the number of pictures taken and shared on the net has rocketed to some unthinkable 10,5 billion (International System of units, 10.500.000.000.000) in 2014. And it is increasing. This prompted Joan Fontcuberta (Barcelona, 1955) to playfully rename our species as Homo photographicus.

Why do we take so many pictures?  Because we can do it? Ok, modern photography (or postphotography) permits it to a level unheard of before. But why should we want to take so many pictures?

There must be something psychological in it, and too many people, famous and unknown alike, refer to it, but no one with as much clarity as Susan Sontag in On Photography, where we can find at least 6 reasons for that expansive behavior.

  1. Fostering the sense of property:  “To collect photographs is to collect the world”, for “To photograph is to appropriate the thing photographed”. Others speak of “bringing home the world” or “capturing the spirit of the place”.
  2. Providing evidence: “A photography passes for incontrovertible proof that a given thing happened”. So, when taking a selfy with that fine monument in background, “Photography will offer indisputable evidence that the trip was made, the program was carried out, that fun was had”.
  3. Calming anxiety: “The very activity of taking pictures is soothing, and assuages general feelings of disorientation that are likely to be exacerbated by travel”, and “Using a camera appeases the anxiety which the work-driven feel about not working when they are on vacation and supposed to be having fun”.
  4. Giving a sense of participation: “Photography has become one of the principal devices for experiencing something, for giving an appearance of participation”.
  5. Conferring immortality: “After the event has ended, the picture will still exist, conferring on the event a kind of immortality (and importance) it would never have enjoyed otherwise”.
  6. Promoting collective identity: “Through photographs, each family constructs a portrait-chronicle of itself -portable kit of images that bear witness to its connectedness”.

Some authors suggest other capacities of photography that may be added to Sontag’s list, such as privatizing our visual experience with our own pictures, as opposed to the public images of a site or a character, or making tangible the memories as albums, posters or posts in the web, or providing a proof of existence to the picture maker in the social networks.

All those putative reasons for taking pictures can be thought of as shared intuitions, but there are some facts related to the human visual system that are far better empirically established, such as:

  1. We are able to understand the sense of a scene in less than 1/10th of a second.
  2. Images increase the understanding of text alone information by 20 % in drug package leaflets, and by a staggering 300 % in fitting instructions.
  3. The sense of seeing is the first in the hierarchy of human senses, followed by hearing.
  4. More than 80% of all nouns and verbs of 15 languages studied by psychologists and anthropologist of the Max Planck Institute are related to seeing.

And that impressive performance of the human visual system can probably be traced to its anatomy and physiology. For instance:

  1. Near 50 % of human brain cortex is devoted to the processing of visual signals.
  2. Almost 70 % of all human sensory receptors are in the eyes.
  3. Each human optical nerve has 1 million of nerve fibers (the olfactory nerve, by comparison, has 30.000).

As some say, the human brain is visually wired.

Homo photographicus, then? We have every reason to suspect that we are so because, in the end, we are Homo visualis.

Up to now, our being visual has been mainly confined in the majority of humans to the visual decoding of messages, but technological progress has made possible for increasing numbers of us to code visual messages without the need of being artists or pro photographers, and we are sending as many messages as we like, breaking our visual silence.

By the way, I don’t think that such plenty of images is pollution; I thing it is just chatter, learning a new language by practice.