“Sent from my iPhone, inside my Ferrari”

‘Sent from my iPhone’, ‘Sent via Blackberry’, or sent from whatever mobile device signatures used to imply one of few things:

1. “Look at me I’m cool~~!, I have [name of the latest mobile device here]. I’m also writing this as I’m driving my Audi A6 while reaching into my Prada to find something… oops…, gotta go, just dropped my D&G shades..”

2. An apology for being terse, brevity or a typo

3. “I do not know how to modify the default signature”

We all know that #1 no longer applies. It may have been a bragging right around 3 years ago but who cares anymore. A grocery bagger guy at my local produce fiddles with his iPhone between bags. He was also wearing a North Face Denali. Go figure.

I always believed #2 (an apology for being terse, brevity or a typo) was bullshit. If the mail in question is important enough for whatever reason business or otherwise, you would take the extra time to correct typos or elaborate the message. Brevity and typos have nothing to do with the size of a keyboard or whether you’re on the move or at home. It’s the importance and the context of the email in question.

For casual exchanges most people don’t proofread emails. And that’s okay. No one needs to apologize for that. Also, emailing someone isn’t some extraordinary opportunity where you only get one shot. People now are connected all of the time. No one writes more than they need to. In fact, everyone writes less and less regardless of the device they’re typing with. I don’t remember ever being temped to write longer emails because I was using a larger keyboard.

So there you have it. There is no reason why these little silly signatures should linger around. For those who do not know how to modify the default signatures, do yourself a favor and search how. Chances are you’re no more than 2 taps away from becoming less annoying. Seriously, no one really cares where your emails come from.

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Fixing Samsung LCD TV – follow up

I posted an article on how to repair the non-powering up Samsung LCD TV. Here’s the original post.

Quite a few people have e-mailed me saying that they could not find the same capacitors at Radio Shack.
Remember, as I stated in my original post, you’re NOT looking for the exact same capacitors at Radio Shack.
Chances are you’re not going find the exact capacitor with the same voltage rating like the one Samsung originally used.
For my LN Series Samsung LCD TV, I boiught 1000uf, 35v capacitor (uf = microfarad).
It’s a 1000 microfarad, 35 volt. The old ones on the TV I believe are 10v. You’re actually buying a higher voltage capacitor for this repair. Higher voltage capacitors should hold up better. So do not go into Radio Shack looking for 1000uf, 10v capacitor. You’ll not find it.

CAPACITOR TO GET:
1000uf, 35v

Remember not to reverse the polarity (+/-) on these capacitors. The negative side is marked with a big (-) symbol. Make note of the sides before removing the old ones.

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Which is longer? Facebook Privacy Policy or The U.S. Constitution

Here’s a nice graphic from the New York Times that charts the growth of Facebook’s privacy policy.

How much does the entire Internet know about your personal life?
Here is how much

Facebook user data exposure

As a user you are not Facebook’s customer. You are its product. Facebook sells its product (your data) to the advertisers who are its customers.
You are not using Facebook. Facebook is using you.
Of course, this only matters if you are one of the minority who puts their ‘real’ information on Facebook.
But if you’re like the majority of smart Facebook users – scammers, perverts, voyeurs with fake names, gamers with multiple bogus accounts – Facebook can be a wonderful place.

Facebook Privacy: A Bewildering Tangle of Options
“How much of Facebook user data is exposed

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Choosing focal length for your DSLR

Choosing the right lens for your DSLR may turn out to be much more difficult – and more critical decision than buying the camera body itself. After all, a lens is a single most greatest factor that affects the picture quality.

Lens selection usually starts with deciding on a focal length. There are lot of names and numbers out there; wide-angle, macro, telephoto, normal, zoom, 18-55mm, 80-200mm 10-24mm, 50mm, blah, blah, blah… Adding to the confusion, for most digital SLRs, the focal length written on the lens barrel is not the actual focal length that your camera sees. Depending on the crop factor/sensor size of the camera, the focal length will vary. For example, a normal 50mm lens mounted on a typical Canon DSLR would have an effect of 80mm not 50mm (it would be 50mm if mounted on a 35mm film SLR or a ‘full-frame’ DSLR camera).

Rather than a lengthy explanation why this is, here’s a handy Focal Length Simulator that you might find helpful. You can choose different lens as well as camera body and mix and match to see how they affect the view angle. This simulator is provided by Nikon but the basic crop factor/focal length simulation applies to any brand.

Click on the picture. The images may take a while to load.

Focal Length Simulator

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Instructions vs. Usability.

There are things we do without thinking. For one, flushing the toilet. People usually don’t expect specific instructions before carrying out this relatively simple task. Read More »

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Man with a Movie Camera (1929) – Dziga Vertov


Man with a Movie Camera (1929) - Dziga Vertov

Google Video
Man with a Movie Camera (1929) – Dziga Vertov

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Aperture + Shutter Speed explained

Affordable DSLRs are spawning everyday, amateur photographers everywhere. More and more people are asking how to take a better photograph now that they’re equipped with more serious equipment then the ubiquitous pocket digital camera.

I get asked questions such as “how many megapixel camera should I get?”, “what is the perfect shutter speed?”, “should I buy Canon or Nikon?”, “what is the best lens?” Of course, there is no absolute right answer for any of those questions. My best response is usually, “It all depends.”

While I don’t consider myself being anywhere near a professional-level or even an enthusiast-level photographer, having gone through three semesters of photo and darkroom studio courses during the course of my design studies, and having fiddled with SLR cameras since 1983 have put me in a slightly better position to answer these questions with ample amount of credibility. So, here goes my humble yet believed to be solid attempt at Photography 101.

First of all, why would anyone want to shoot with an SLR when any decent modern pocket camera is capable of capturing great photos? Simply put, it’s like driving an automatic transmission vs. manual transmission, Chef Boyardee vs. making your own ravioli or pre-arranged marriage vs. freedom to pick your own spouse. The automatic versions get the job done. But it’s the manual version of things that gets your creative juices flowing, take things further, and yields to something far more interesting.

Here are couple of basic camera terminology in plain English:

APERTURE
refers to an opening of a diaphragm within the camera lens that controls the amount of light taken in by the lens. This is indicated by an f-number or f-stops (1.8, 2.0, 2.8, 3.5…). The lower the number, the larger the opening letting in more light into the camera. Higher the number, the opposite.

SHUTTER SPEED
refers to how fast a curtain goes up and down (the time the shutter stays open, to be accurate) that is placed between the lens and the sensor (or film). This controls the ‘duration’ the light hitting the sensor or film. This is indicated by the number of seconds. 1/1000 (1 thousandths of a second), 1/500, 1/250, 1/125, etc… (or 1000, 500, 250, 125… as shorthand indicated on most cameras)

ISO
refers to the sensor’s sensitivity to light. In the film days, the film itself was given the ASA/ISO number (100, 200, 400, etc…) which indicated the film’s sensitivity to light. The digital camera lets you dial in these numbers right in the camera which mimics the film ASA/ISO. The higher the number, the more sensitive to light, meaning the sensor or the film requires less light for a given exposure.

How does aperture and shutter speed work in combination? And how do they affect each other?
I like to use the analogy of running water. Let’s picture a faucet, and below it a bucket ready to be filled with water. And let’s just say the water filled up to 1 gallon mark signifies a desired exposure.
Turning the water on will start to fill the bucket. How much water you turn on determines how fast the bucket gets filled and ultimately determines the duration needed to reach the 1 gallon mark. In this analogy:
FAUCET = APERTURE
WATER = LIGHT
BUCKET = SENSOR (or FILM)
ONE GALLON MARK = DESIRED EXPOSURE
TIME TO FILL 1 GALLON = SHUTTER SPEED

More water means it will take less time for the bucket to fill up – in camera speak, the greater the aperture (i.e. larger opening / more water / more light) requires faster shutter speed to achieve a given exposure.

Less water means it will take more time for the bucket to fill up
– Again, in camera speak, the smaller the aperture (i.e. less water / less light) requires slower shutter speed to achieve a given exposure.

aperture

That pretty much explains the relationship between aperture and shutter speed.
Basically, the more light the lens takes in (large aperture / smaller f-number), the less time the shutter needs to stay open (faster shutter speed) for a given exposure.

Therefore, it’s possible to use LARGE APERTURE + FAST SHUTTER SPEED to achieve a given exposure and also use SMALL APERTURE + SLOW SHUTTER SPEED to achieve the same exposure.

Thus the below combination would yield to same exposure:
a.) 1/500s + f/5.6
b.) 1/250s + f/8
c.) 1/125s + f/11

Combination a.) has faster shutter speed and a large aperture.
Combination c.) has slower shutter speed but a smaller aperture

Of course, even though the above combination will result in same exposure, the effects on the resulting image can be very different depending on the subject, lighting condition, and motion. This is where the text-book definitions end and fun and imaginations begin. Faster shutter speeds freezes action. The aperture of a lens greatly effects the depth of field (the range of distance the subject is in focus). And I haven’t even covered the affect of ISO. Shooting in manual mode allows you to explore endless possibilities using combination of various techniques allowing you to break free from what has been pre-set in the camera.

I’m not going to cover any specific techniques here as there are millions of articles out there that are better written. Simply searching for terms ‘aperture’, ‘shutter speed’, ‘digital photo techniques’ or anything along those lines will provide enough information to get you going.
Shoot away!

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Mega Wasted Pixels – The Digital Camera Myth

Digital camera market is full of advertising gibberish boasting high number of megapixel designed to lure consumer and beginner photographers into believing that more megapixel equals better picture and a better camera.

Million megapixel camera

Of course, this is complete nonsense. Higher number of megapixel does not equal to higher quality pictures. Higher number of megapixel in a digital camera does not mean it’s a better camera the same way the number of pages in a book has nothing to do with the greatness of the book.

Today, advertising driven consumers are lost deep within the misconception and myth surrounding digital cameras and megapixel. It’s almost laughable especially when practically all of the consumer level photographs end up as 4×6 or 5×7 prints at Walgreens or Costco. And knowing consumer level camera users, they’ll set their cameras to shoot at the highest MP setting as possible. In doing so, they soon realize the mega gigs of memory card they had is suddenly not big enough to hold all of the images. So they go out and buy more memory cards to hold more uselessly large images of blurry photos of their kids doing silly stuff.
They’ll go out and buy bigger hard drives to store more blurry photos of their kids doing silly stuff. Not only that, they’ll also soon realize their once capable computer isn’t fast enough at processing all of the uselessly large blurry photos of their kids doing silly stuff, so they’ll go out and buy a new computer as well.

Imagine all of the wasted space, memory, processing and transfer time not to mention the money wasted on hardware when measly 5 or 6 megapixel was more than enough to get a high quality 4×6 prints at a local Costco. There are photographs sold in galleries for thousands of dollars that are shot with 6 megapixel cameras.

So why so much emphasis on the megapixel? Well, advertising is for idiots. Advertising sells products just as politicians sell promises. Do your own research and make better decisions. There are lot more features of the camera that directly affects the picture quality and how the camera handles more than the count of megapixels. Also, the best and the greatest my not always work for you. Everyone has different needs and purpose for a camera. So concentrate on the features that are important to you. Focal length, zoom, aperture range, shutter speed, sensor size, weight, size, write speed, iso range are just some of the points to consider. Megapixel is important but it’s not everything.

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Designing a Better Business Application

DESIGNING FOR VARIOUS STATES
When designing a page that draws set of results from collection of data (i.e. database) the screen layout should be designed to serve three core states of the application; Normal, Empty, and Error.

Normal State: is when system returns expected results.
Normal state can be further broken down into two sub-states:
– Overflow State: when the system returns too much results.
Minimal State: when the system returns too little.
Empty State: when system returns no results

Error State: when system returns unexpected results due to system or user error.

Intended layout, aesthetics, and usability of the page must be preserved throughout all of the possible states described.

USING REALISTIC DATA SETS / CONTENT
It is important to use sample data sets or content that closely resemble the real-world scenario. Pages designed around irrelevant placeholders result in compromised usability, awkward layout and aesthetics when asked to handle production data.

Following are some points to consider:
- Maximum or minimum character length
- Anticipated amount of text (for heading or paragraph)
- Date or text format
- Amount of data (If only one or two lines are returned, does the table get lost on the page? Does it get buried under heading or text? Is the information still legible?)


DESIGNING FOR THE FUTURE

Applications designed for the web, by nature, change and evolve over time. Designers need to think about not only how the UI works now but how it would expand, get modified and improved over time. User interfaces and interactions need to be flexible enough to easily accommodate the future. This applies to design as a whole or individual feature.

Modifications may include:
- Addition of features, links or menu items
- Deletion of features, links or menu items
- Modified interaction
- Corrections
- New mesh-ups with third-party applications
- Optimization

The design should also take into account the possibility of customization, variations, or internationalization that caters to various clients, markets or cultures.

INTERNATIONALIZATION
An application should not only be able to support multiple languages, but layout and usability should also be maintained across various internationalizations. Consider the impact on the length of text in button labels, table headings, columns and other areas where real estate may be limited.

Cultural Difference
Designers should also be aware of the cultural differences. For example, different colors or shapes may carry different connotations in other parts of the world.
There are other socially sensitive issues that design need to take into account. For example, what radio button should be placed first? Male or Female? Which country should be listed first in the dropdown? Should it be strictly alphabetical or context sensitive? Things like this may have significant impact depending on the culture and the context.

PERSUASIVE DESIGN – GUIDING THE USER
Using hints to provide a clear obvious path is preferred over alerts, error messages, or lengthy instructions. In addition to concise textual hints, design elements such as white space, positioning, size, texture or color can contribute to guide a user complete the task successfully.

The best error message is no message at all.

As much as we try to avoid more interactions than absolutely necessary, there are scenarios where the app inevitably needs to require significant involvement from a user – whether in the form of additional clicks or additional pages. This may be due to technical limitations, business requirement, or other non-controllable external forces.

Users of business apps look to results. They are not looking to get entertained or be amused. Often in a business application, a reasonable amount of repetitiveness can be tolerated in return for improved accuracy and/or security. In a business app, when saving a click and accuracy collide, accuracy should always trump.

Focus on Activity-Centered Design
Sometimes overly emphasized user-centered design can lead to haphazard results and chaos. It shouldn’t be the goal of the design to cater to every possible user limitations or problems. Design must focus on the goal of the user. An activity-centered design focuses on the scope and the context of the utility in question rather than on the users’ ability (or inability), preferences or behavior.

This approach – by guiding or nudging the user in the right direction – is far more likely to yield desired results than correcting the user when errors are made.

SMART COMPROMISE
There is no single perfect solution or design for a given problem. Designing web application for the most part is about making appropriate compromises at the right time and in the right places. This is especially true for enterprise applications with complex business requirements and constraints.

AVOIDING NOISE
Advancements in front-end technology in recent years have made many ‘cool’ features on the web possible. We are in an era where if you can imagine it, there is always a technology or techniques that can make it happen. As a result, many are currently being used and also abused. The question now should be not ‘is this technologically possible?” (because, most likely the answer would be Yes) but “is this cool feature really necessary?”

Cool features or behaviors shouldn’t be used for coolness sake or just because it can be done. Like everything else on the web app it should be used only when it’s absolutely necessary for the task at hand.

Providing Alternative
Providing alternatives is a good idea but only if the alternative offers something new or different that the first method did not. Creating more than one way of achieving the same thing only creates confusion and noise unless they both present unique benefits that couldn’t be shared. For example, an application may provide options to view set of images and data vertically in a list or as a thumbnail grid. Each option provides benefit that the other cannot offer. List view may include more details while grid view shows more results at a glance. Both of which are difficult to achieve in a single solution. Therefore, proving an alternative view option is rightly justifiable.

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Photos by YK

Click to enlarge.
Photographs by Young Koh

Photographs by Young Koh

Photographs by Young Koh

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