New workflow reduces stress of news photographers and speeds-up publishing time of news pictures

Remote photo editing will change the workflows of news and sports photographers dramatically. The photographer no longer has to actively transmit pictures, as by using remote editing software the editor can access the digital camera via the internet from his or her office, and download the pictures straight to their computer. swiss-image.ch, the official photo agency of the World Economic Forum, will use Remote Editing during the upcoming Annual Meeting 2008 in Davos/Switzerland to bring important press pictures faster online.

In the year 2007, the development of remote editing has taken a crucial step forward. Paul Nolan, an Anglo-American software engineer (www.idruna.com), presented his new program “Idruna Remote Editing System” (IRES), a fast, well-tried and reliable system for “remote controlled” picture transmission. In doing so, Nolan made remote editing accessible to a wide range of users, while most of the big photo agencies around the globe work on the same technique secretly. What was crucial for the breakthrough of remote editing was the launch of the professionals’ camera Canon EOS-1D/Ds Mark III, complemented by the small WLAN transmitter Canon WFT-E2, as well as the latest ultra-mobile PC (UMPC) OQO e2 HSDPA with integrated data transmission (WLAN/UMTS/HSDPA). Combined, these technical innovations allow brand new and extremely fast workflows.

Using IRES, the editor can see via internet what the photographer is capturing – even if the latter is working at the other end of the world. With a simple mouse-click, the editor can download any picture he or she likes, edit it, add a caption and save it to his or her database or bring it online. The only thing the photographer has to worry about is that mobile computer and camera are working properly and that the internet connection is running. Apart from that, he or she can entirely concentrate on taking pictures. There is no more risk of missing important moments, as there was when the pictures had to be edited and transmitted nearby while the important session with famous Presidents and Prime Ministers during the Annual Meeting of the World Economic Forum is going on.

Remote editing saves time and money

One of remote editing’s biggest advantages is speed. The recipient downloads only the pictures he really wants to use. The rest remains in the photographer’s storage and no longer affects the data transmission. The pictures can be previewed and downloaded within seconds after the taking. Remote editing works wherever there is access to the internet, be it wireless or wired. Its application area continually grows thanks to wireless data networks – such as Public WLAN, UMTS or HSDPA - increasingly spreading across Europe. Fast WLANs are part of the basic equipment for major political, social or sports events. In case there is no such network, a satellite modem (RBGAN) may easily fill the gap.

Remote editing also saves the photo agencies money. The editor no longer has to accompany the photographer and edit the photos on the spot. The editing can be done anywhere: at the home office, in a hotel room or at home. The only condition is the photographer’s and the editor’s connection to the internet.

Remote Editing – many are working on it, hardly anyone talks about it

Worldwide, IRES is the first remote editing solution that is available on the market. And, at the same time, probably the most capable. Yet, the software costs only 199 US dollars, including usage of the IRES server, and there are further interesting features to it for active picture transmission. The PC version was inspired by “Pocket Phojo” by the same producer, one of the most enhancing and efficient photo programs for pocket-PCs available. With Pocket Phojo, remote editing, editing and transmission are possible even with a small Pocket-PC Phone Edition as the HTC TyTN.

Swiss-Image, having been engaged in the development of WIFI-photography since the beginning of the year 2002, has copiously tested IRES and many thinkable workflows around remote editing. By combining the Canon EOS 1D Mark III and WFT-E2, the possibilities for remote editing have massively amplified. No more USB-wire is needed to connect the camera and the photographer’s computer; the camera transmits the picture data to the notebook or UMPC wirelessly. This way, the photographer gains liberty of action.

Remote Editing: Minimal configuration with a common notebook

Evidently, remote editing only works for a photographer equipped for it. The minimal configuration consists of a digital camera, a USB-cable and a notebook with a data transmission card. What is key is the IRES software resp. Pocket Phojo. The installation and configuration are relatively simple. Especially for sports photographers who do not have to or should not move around taking pictures a simple notebook will do. Photographers using Macs are not left out, as IRES can run under Parallels. The device can do its job at a football, ice-hockey or tennis match being positioned in a bag or on the floor.

However, we use more complex configurations providing also for the needs of a photographer moving from one location to the next. Our first choice is the new Canon EOS-1 D Mark III with the compact WLAN transmitter WFT-E2 to be screwed onto the camera. For a mini notebook we use the Libretto U100, an older model by Toshiba. It will be replaced by UMPCs by HTC (Shift) or OQO (e2x) with integrated UMTS/HSDPA data adapter later this fall. A data transmission card by Sierra Wireless provides quick access to the internet.

For a light-weighted and enduring alternative we have chosen the HTC Advantage, a powerful pocket-pc with integrated WLAN, UMTS and HSDPA. The devices can easily be carried in special bags attached to the waistbelt or in a photo bag.

The IRES server bridges the gap between photographer and editor

This is how remote editing works in detail: Via WLAN (ad-hoc connection), the JPEG files (2 to 3 MB) are transmitted from the Canon EOS-1D Mark III to the mini PC and stored on the harddisk. The Mark III also stores the files on its internal CF storing card to make sure. Now the editor, using their web browser, logs in to the IRES server to view the thumbnails of the pictures. They appear very quickly, even when the photographers is connected via mobile phone, as only the thumbnails need to be transmitte to begin editing.

The thumbs are loaded and stored in a temporary file on the IRES server as long as the editor is working online. The photo receiver, that is, the remote editor, can log in and view the thumbnails from anywhere he or she likes, the IRES server bridging the gap between the computer of the photographer and the one of the editor. Thus, problems with firewalls and dynamic IP addresses public wireless networks have to deal with are elegantly by-passed. Via IRES server, the editor can download high-resolution pictures from the harddisk of the photographer’s computer, or directly from the storing card in the camera. If the camera is connected to a pocket-PC via USB wire, the JPGs remain on the CF or SD card in the camera and it is there that they are selected from.

More and more organizers of major events, such as olympic games or world championships, provide the photographers with fast local area networks (LAN) on the spot. Wherever this is the case, the photographer’s computer can be connected directly with the LAN wire. This saves even more time. The photographer can extend his action radius up to a few hundred meters. Also, via WFT-E2 two or more Canon EOS-1 D Mark III can simultaneously transmit data to the same notebook.

New IRES option: The photographer pre-selects the pictures on the camera display

Just recently, Paul Nolan added an interesting option to IRES. The photographer can mark the pictures the editor is supposed to see (write protection). IRES now depicts only those pictures as thumbnails. “This way, we let the photographer have control over his own photos”, Paul Nolan explains. In fact, some photographers had misgivings when they tested remote editing. Many professionals are used to their double role as photographer and editor and would like to remain at the helm of responsibility for their pictures. Because, the editor might choose just the wrong picture… “Coming to think of it, we are taking a step backwards. Up to the nineties, a photographer working for a big agency would hand his film roll to a laboratory worker and head to the pub”, Andy Mettler, who at that time had seen many photographers resist digital cameras and editing at the notebook, recalls. “We photographers ought to be grateful for the editor doing remote editing taking over part of our work. In the end, we ought to be able to focus on taking pictures. Editing on the spot and under time pressure means a lot of stress.”

Another advantage of the new IRES function: The editor does not need to view many unimportant pictures, but may choose from a “best of selection”. That slows the transmission down a bit, but still a lot of time can be saved.

Swiss-image.ch has tested more than 30 different remote editing workflows using the Mark III and IRES. Since February 2007, the Swiss photo agency specializing in online photography has regularly been working with remote editing. “Only big companies can take full advantage of remote editing”, Mettler explains, “but also small agencies and one-man-shows may profit from IRES. Everyone just has to find a workflow suitable for them.”